MINT

Awa Poulo is a singer of Peulh origin from Dilly commune, Mali, near the border with Mauritania. Largely pastoral and often nomadic, Peulh- (or Fula-)speaking peoples are found from Senegal to Ethiopia but predominate in the Sahel region of West Africa.Awesome Tapes From Africa releases Poulo's newest recording of highly virtuosic folk-pop, fresh from the studio, broadcasting her vision of Peulh music beyond the grazing grounds and central markets of her remote home region in southwestern Mali. It's not very common to find a female singer performing publicly among the Peulh. But Poulo's mother's co-wife is Inna Baba Coulibaly, who is a celebrated singer most Malian music fans know. Coulibaly herself was brought into music by forces outside her control when a regional music contest required an entry from her village and she was chosen to be a singer. So, set in motion by a surprising series of events, young Poulo's entree into the music world was auspic ious as she gained popularity across the region. After several locally released tapes and CDs, this record is Poulo's first internationally-distributed record. On Poulo Warali, she and her band combine the hallmarks of Peulh music—warm flute floating over cross-rhythmic n’goni (lute) riffs and resonant calabash gourd hand percussion—with broader Malian sounds like lightly-distorted guitar and a heavier, rollicking inertia. Shapeshifting layers of rhythm and woody overtones match Poulo’s commanding voice in a jocular yet deliberate dance. This is a relatively rare example of Malian Peulh music played in a modern, cosmopolitan context, reflecting the mixed society of Dilly, where Bambara, Soninke and Peulh-speaking people live among each other. Poulo’s conscious lyrics about community concerns speak to the distinctive identity of her broadly-flung people. While Peulh represents less than 10% of Mali’s melting pot of languages, the dynamic music here powerfully resonates well beyond the linguistic borders

Dope two tracker on Shanti Celeste's newly ripened Peach Discs from the lady herself...Shanti - I started Peach Discs because I feel like the time is right!!! I want to release music that makes me happy and build a little family with all my friends and friends of friends who I know are making great music. I also want this to eventually be my main home for releases. In the future there will be releases by a new Bristol duo called 'Fred' and a 12'' by Samuel as well as many others of course!The first release, by yours truly, has an emotional and energetic breaksy number on the A side and the B side is a more striped down - ish , tough and bass heavy cut with some vocal samples. Both full of twinkly melodies and arpeggios as per usual !

Lovely overlooked funk/soul LP, originally released on Alwest in 1980 - now reissued.

2nd volume of the now highly sought after Paradise Bangkok 45s series, of vintage luk thung and molam that have been released over the past 2 years, collected here for the 1st time - including 3 exclusive tracks that have never been reissued before! Exclusive insert designed and illustrated by Lewis Heriz: ‘Cosmology of Paradise Bangkok’ showing the musical connections between South and South East Asia, The Middle East and East Africa

Bruno “Patchworks” Hovart is one of the top producers of today’s groove music scene. After playing as a bassist and guitarist for various bands, he started producing in the mid-nineties and has kept on mixing today’s technologies with the raw spirits of House, Electronic, Disco, Funk, Soul, Reggae & Jazz music’s golden years since then.Following the trail of success left by his various projects as Patchworks, and under many aliases, he’s proved his musical ubiquity and unexpectedly stroke in various genres. Many House music diggers would indeed remember that before Favorite Recordings was launched in 2006, Patchworks produced many deep-house tracks on various labels.On this new EP, he’s back as Mr President with 2 new banging titles brilliantly mixing House music atmosphere, with Soul and Disco vibes. He’s also teaming up again with Sabba MG on vocals, following to their great “Give My Love” efforts, released on EDR Records 3 years ago. As “Going to a Go Go” is a fully exclusive work reminiscent of the early House music scene from New-Jersey or Chicago, the nice Disco flavors of “Night Time” also come to announce Mr President’s upcoming new album in 2017.

Erasmo Carlos E Os Tremendões is greater than the sum of its pop-rock spitballs. It’s a creative, and at times experimental and groundbreaking album that remains a thrilling listen.Erasmo Carlos has no counterpart in the universe of Anglophone pop music that could begin to hint at his relevance, popularity and his complex relationship with the only Brazilian pop star more universally recognized than himself, Roberto Carlos. He may be a beloved pop star and household name in Brazil, but hardly because of the music found on the three albums reissued by Light In The Attic. While in retrospect they can be appreciated as some of his most creative, consistent and personal albums, they were also some of the least commercially successful and underappreciated of his long career, at least until recently. Embracing the artistic freedom of the global counterculture of the late sixties and early seventies, over the course of these three albums, Erasmo evolved from his bubblegum beginnings into a sophisticated seventies singer-songwriter. Erasmo Carlos E Os Tremendões (1970), Carlos, ERASMO . . . (1971) and Sonhos E Memórias 1941-1972 (1972) collectively find this maturing teeny-bopper delivering a mix of world class psychedelic Rock, traditional Rock ‘N’ Roll, Soul, Funk, Folk, Bossa Nova, and Samba-Rock to an unsuspecting Brazilian audience.Collectively, the songs on Erasmo Carlos E Tremendões sound like an attempt to appeal to nearly every relevant genre of Brazilian popular music at the turn of the decade. From the cover tunes alone there’s a Caetano song “Saudosismo” (Tropicália), an Antônio Adolfo song “Teletema” (Pilantragem/art-pop), and not just any Ary Barroso song, but the unofficial Brazilian national anthem “Aquarela Do Brasil”. Of the new songs, “Menina” is a Soul ballad and “Jeep” brings the Funk. Maybe it was exactly that, a chance for Erasmo to stretch his creative muscles in a lot of different directions as it became clear his Jovem Guarda character and sound had run its course, along with the TV show of the same name.

This album is considered a bedrock album within the Brazilian rock scene and a notable late entry in the Tropicália tradition, rocking harder than any album in his catalog, but also including wispy love songs, soul and funk moves, brassy pop tunes and a marimba-driven ode to marijuana . Erasmo Carlos has no counterpart in the universe of Anglophone pop music that could begin to hint at his relevance, popularity and his complex relationship with the only Brazilian pop star more universally recognized than himself, Roberto Carlos. He may be a beloved pop star and household name in Brazil, but hardly because of the music found on the three albums reissued by Light In The Attic. While in retrospect they can be appreciated as some of his most creative, consistent and personal albums, they were also some of the least commercially successful and underappreciated of his long career, at least until recently. Embracing the artistic freedom of the global counterculture of the late sixties and early seventies, over the course of these three albums, Erasmo evolved from his bubblegum beginnings into a sophisticated seventies singer-songwriter. Erasmo Carlos E Os Tremendões (1970), Carlos, ERASMO . . . (1971) and Sonhos E Memórias 1941-1972 (1972) collectively find this maturing teeny-bopper delivering a mix of world class psychedelic Rock, traditional Rock ‘N’ Roll, Soul, Funk, Folk, Bossa Nova, and Samba-Rock to an unsuspecting Brazilian audience.As a student and fan of Elvis, Little Richard, Bill Haley, and Chuck Berry, Erasmo indulged his primal rock urges on these albums, notably getting sufficiently psychedelic and fuzzy on Carlos, ERASMO . . . Arriving in 1971 while Caetano and Gil were still in exile, Rita Lee had recently quit Os Mutantes and Gal Costa was onto a new sound, Erasmo’s 1971 album was the closest thing to Tropicália around. Carlos, ERASMO . . . was co-produced by the Tropicália producer, Manoel Barenbein, including a new composition from Caetano, a few arrangements courtesy of Rogério Duprat and the musical talents of no fewer than three Mutants: lead guitarist Sergio Dias, drummer Dinho Leme and bassist Liminha, not to mention Brazil’s undisputed psychedelic axe-master, Alexander Gordin, aka “Lanny”, Carlos, ERASMO . . . is a virtual all-star team of Tropícalistas (not in exile).

Sonhos E Memórias 1941-1972 is truly singular within Brazilian pop fusing rock, soul, jazz and singer-songwriter styles. It’s simultaneously rootsy, funky, modern and nostalgic. The lyrics are highly personal, searching for deeper meaning with lots of flower power imagery and language, while the music is tight, highly rhythmic, melodic and restrained in its delivery and effortless groove. Built around the future fusion trio Azymuth with keyboardist José Roberto Bertrami, drummer Ivan Conti aka “Mamão” and bassist Alex Malheiros, a majority of the album’s tunes make excellent use of this trio’s telepathic tightness, subtle funkiness, and melodic mastery. The album dabbles with a few different styles and rhythms, all telling Erasmo’s musical story be it Bossa Nova, Roots Rock, Hard Rock, ballads, and soulful grooves, but a certain sonic frequency or tempo alongside the autobiographical elements unite this masterwork. Erasmo Carlos has no counterpart in the universe of Anglophone pop music that could begin to hint at his relevance, popularity and his complex relationship with the only Brazilian pop star more universally recognized than himself, Roberto Carlos. He may be a beloved pop star and household name in Brazil, but hardly because of the music found on the three albums reissued by Light In The Attic. While in retrospect they can be appreciated as some of his most creative, consistent and personal albums, they were also some of the least commercially successful and underappreciated of his long career, at least until recently. Embracing the artistic freedom of the global counterculture of the late sixties and early seventies, over the course of these three albums, Erasmo evolved from his bubblegum beginnings into a sophisticated seventies singer-songwriter. Erasmo Carlos E Os Tremendões (1970), Carlos, ERASMO . . . (1971) and Sonhos E Memórias 1941-1972 (1972) collectively find this maturing teeny-bopper delivering a mix of world class psychedelic Rock, traditional Rock ‘N’ Roll, Soul, Funk, Folk, Bossa Nova, and Samba-Rock to an unsuspecting Brazilian audience.