2016

BACK IN STOCK !!!!This four tracker explores the sound he's been developing over the years and even touches a newer side. The EP opens with the title track Wide Awake and embodies the signature Junktion sound with a summery balearic touch. What We Are is a faster synth laden affair coupled with his usual sample action. Sunny Side Up is what the title says it is, a sunny Disco track driven by a groovy bassline and a funky rhythm guitar. The EP closes down with Don't Mess Up for a more contemplative jazzy track with some smooth sampling and afro touches.

Jovonn returns to London's Dogmatik imprint with another fine 12" delivering two new tracks with Jovonn's distinctive new jersey influenced sound.

Royal Athlete Records are back with another set of party bombs, lovingly curated to achieve maximum perspiration. Heading up side A is 'Dreamers' by UK's Chaconne. A certified disco-piano-banger, recalling 80s NYC hedonism and emotion. (The Real) Kent Clark, who so far has only one release on Bordello's Riviera Disco series follows up with an electro-boogie dub workout entitled 'Make It Right'. Our man in Holland: Aux Tha Masterfader, takes us back to the old-school with the LinnDrum breakdance beast, 'Let's Dance To The Beat'... He commands, we obey. Closing up is Dilemma, who recalls the memory of the early days of Belgium's debauched nightlife with searing leads and low-motion grooves in 'Bocca Nights'. All tracks mastered by Alek Stark.

Susso, aka bassist / producer Huw Bennett, creates music inspired by, and directly sampling, the magnificent sounds of the Mandinka people, recorded during a recent trip to Gambia. Initially travelling with the aim of gaining perspective as a musician and to discover a new world of music first hand, Huw found himself humbled by such a welcoming community of artists, mostly belonging to the celebrated Suso and Kuyateh griot families.The tracks are composed entirely from original source material, field recordings and Huw's talents as a multi-instrumentalist, performing tuned percussion from the region including the Mandinka Balafon, Kutiringding drum, as well as drawing on his skill as a professional upright / electric bassist.The music produced has a contemporary electronic sound, whilst still paying homage to a traditional Gambian aesthetic. Keira (meaning peace) guides the listener through Huw's journey up the River Gambia, being welcomed into remote dusty villages, where your people are the most important thing in life.

A Legendary, Ultra-Rare Afrobeat Killer, Restored And Presented For The First Time In Wide Release! / Lp Includes Bonus 7” Disc Featuring The Rare 1972 Single “Son Of Thunder” B/w “Alupandu-Gbe” / Limited To 1000 Copies /It’s 1968 and Fela is in tears. Fela Kuti, the genius of afrobeat. The champion of the people. Fabled for unflinchingly staring down the barrels of state tyranny, enduring beatings within an inch of his life from government stormtroopers and then getting on stage to mock his tormenters in song. Fela the fearless, Fela the invincible. Fela who they call Anikulapo—“he who carries death in his pocket.” What insurmountable catastrophe could have reduced this formidable titan of African music to tears? Ojo Okeji leaving his band, that’s what. - From the liner notes, by renowned Nigerian music historian Uchenna IkonneIn the early years of Fela Kuti's career, well before he would define the genre of afrobeat, and leave an indelible mark on the musical landscape, he was a struggling trumpet player, seeking to redefine the sound of his current group, the art-jazz ensemble Fela Ransome-Kuti Quintet. As he moved his group towards the then-popular genre of highlife in 1963, he lost his bassist in the move towards commercial success, but gained the company of Ojo Okeji, who had a sterling reputation both as a bassist and percussionist in groups like Lagos Cool Cats, Rex Williams' Nigerian Artistes, and Western Toppers Highlife Band, a favorite of Kuti's. Okeji impressed Kuti with his deft jazziness on the bass, so he was in on the spot, and the Fela Ransome-Kuti Quintet became Koola Lobitos.It was Okeji that introduced Kuti to the famed percussionist Tony Allen, (Who would subsequently join Kuti into his greatest years as an artist) as well as conguero Abayomi "Easy" Adio. During his time in Koola Lobitos, Okeji not only contributed deeply melodic, and adeptly rhythmic baselines, but brought his own influence from emerging US soul artists like James Brown & The Famous Flames and Wilson Pickett, heavily pushing Koola Lobitos towards a more soulful direction. This push was often resisted by Kuti, who frequently clashed with Okeji. 1968 proved to be a turning point for the group, as the Nigerian Civil War broke out, and many starving musicians turned to the military for work. Okeji and Adio would leave for the army, while Kuti and Allen kept Koola Lobitos going, where it evolved through different names and iterations and grew into the worldwide afrobeat force that made Kuti an icon during the 70s and 80s. But as Kuti and Allen rose to global recognition, Okeji and Adio would form a new band within the ranks of the 6th Infantry Brigade of the Nigerian Army. Their emblazoned blue jackets earned them the nickname "The Blues”, but Okeji preferred the name “Shango” after the Yoruba thunder god. Shango took the fundamentals of Kuti's famous afrobeat and brought new layers of guitar and horn arrangements, while often invoking supernatural aesthetics, and maintaining a love for the US soul artists that influenced Okeji so much. Because Shango was an army band however, their records were not readily available to anyone outside of the military so their music, including their eponymous 1974 LP, remained relatively unknown even amongst the people of Nigeria. Decades later Comb & Razor is thrilled to present this long-lost Nigerian gem for the first time to a world-wide audience.