The fourth instalment in the Dancing People series offers two huge re-works of West African gems, jacked to the max with extra horns, driving percussion, crisp production and huge bass.
Given the first 3 releases have sold out immediately, receiving worldwide plays on dancefloors and airwaves alike, this is not one to be missed.
As ever, strictly limited edition, vinyl only release. Mastered to perfection and cut loud in glorious stereo.
a1. Dancing People - Ekila (Nick XOA + HWRD edit)
b1. Dancing People - Afe Ato Yen Bio (Nick XOA + HWRD edit)
Mount Liberation Unlimited are Tom and Niklas, two Swedes from space who have spent the last 5 years carving out a particularly vivid niche in contemporary electronic music. Their previous work has seen them connect with an impressive list of global dance powerhouses: New York’s Beats In Space, Melbourne’s Superconscious and Munich’s Permanent Vacation have all released 12′’ heat from the duo, while their hometown buddies at Studio Barnhus provided an outlet for what has been perhaps their biggest and boldest release yet, 2017’s double smash single Double Dance Lover. Their live shows are fervent, fast-paced and very multi-instrumental affairs, performed non-stop at an increasingly prestigious list of clubs and festivals, serving as prime examples of the MLU boys’ core obsession: the interaction of human rhythm and electronic pulse. They have their own great little radio show on Gilles Peterson’s Worldwide FM! Australia loves them! They got their artist friend Tom-Hadar Elde to sculpt their heads for their debut album cover! That self-titled debut, to be released May 31 on Studio Barnhus, has been in progress since the very formation of the MLU project in 2014. It contains some of their earliest work and of course their very latest – all perfected at the Neve desk of legendary Gothenburg studio Svenska Grammofonstudion, in cahoots with mix engineer Christoffer Berg (Depeche Mode, Robyn, Fever Ray).
a1. Clintro Space Funk a2. Welcome to Organic a3. Gospel (Makes My Body Move In Sinful Ways) b1. Prozac b2. WWW.ednesday b3. Climb Me Up
c1. Jaz for More c2. Krauten c3. The One d1. Techno Thrills and Ecstasy Pills d2. Air 2 Breathe
Glas-Goan-Kenyan producer, DJ and global traveller Auntie Flo (Brian d’Souza) regularly releases music inspired by different places around the globe. In 2014 he released an EP recorded in Cuba under the ‘Highlife World Series’ banner and ‘Hey, Don’t Make Trouble’ a collaboration with singers from the Ivory Coast. 2015’s album ‘Theory of Flo’ featured collaborations with Ghanianan singer Anbuley amongst others, 2017 saw him release the ‘Soniferous Garden EP’ recorded in Uganda on Sofrito records. He’s also released remixes from African legends Baaba Maal and Oumou Sangare. ‘Kabsa’ is a continuation of this trend, this time exploring music from Levantine coastline. In 2017, Auntie Flo travelled to Lebanon to perform at a wedding at the Mir Amine Palace, just outside of Beirut. Not the normal gig, the experience inspired this new EP ‘Kabsa’ on Moscoman’s Disco Halal. Levantine flavours come together with tracks named loosely after dishes from the region, with other trips to Tel Aviv, Marrakesh and Istanbul also inspiring the production. For every Ep, Auntie Flo rebuilds his studio with a completely new set up, helping to create a fresh sound. On Kabsa, all three tracks are 100% analogue jams, mostly recorded in one take on an array of hardware. The main synth is the 1980’s classic Casio CZ5000 used in combination with various effects and loop pedals, a Roland 727 drum machine and MFB drum computer. The result a loose and raw and perfect for club play. After playing Kabsa on Red Light Radio, Auntie Flo was contacted by revered Ecuadorian producer Nicola Cruz who asked if he could remix the title track. The result is not one, but three, killer remixes that are also due out on Disco Halal in summer 2018.
The record compiles six slightly edited or ‘fixed’ late 80’s / early 90’s Brazilian pop songs that touch all basic elements of old school hip hop, new beat and electro: drum computers, heavy use of funky (guitar) samples, rapping and scratching, except for that last track which is a sexy melancholic Portugese tune that felt so good to end with. As usual in a white discobag hand-stamped with a little drawing by Frank Koedood.
Wahever Records in association with Alex Dayo Drumming School proudly presents Gùndo Fara, the debut EP by Zantogola. Inspired by the West African heritage of popular rhythms and songs, Zantogola are at the same time masters and explorers of the plenguedey music: a fusion between elements of mandingue, highlife and afrobeat with hip hop, reggae and jazz. The band mixes traditional African-percussions rhythms with brass, voices, guitars, balafons and ngonis to create contemporary, reflective, joyous and highly danceable songs. The Zantogola project was born in 2016 with the meeting of Alex Dayo and Matteo Boyero, and has grown up into a full scale band and human adventure. Among the members of the band there are musicians like Alai Sanfo, Hien Narcisse Moustique Piqué, Robert Goldsmith, David Kemp, Nick Onley, James MacPhail, Owain Arthur, Moussa Dembele and Shreya Rai. Alex Dayo is a drummer/percussionist from Burkina Faso, former musician of the Kouledafourou National Ballet and leader of Wountey, the band who initiated Plenguedey music. Alex moved to London in 2008 where he set up a drumming school. Shreya Rai is a 25 year old singer from Nepal. She is the main female singer for Zantogola, and also performs with other bands such as Namlo and Makindu (WAHEVER 004). She is a highly creative and dedicated artist, and a composer in her own right: look up her name for future releases. This EP also features some special guests: violinist John Garner, Rafael Anker on EVI (electro valve instrument), Togo Clément Palé on bass, Sophia Mogapi on snare/cymbals, Marta Badia Marin on background doundoun and Dabaiyah Fidel on backing vocal. Zantogola means “the greatest in everyone” and it’s the name of a character in Burkina Faso’s folklore. There are many tales of his extraordinary powers. He plays his percussion louder than anybody in the country, so loud that you could hear him from all the other villages. He can devour a whole village’s food supply for a year in a single day, but his appetite is matched by his generosity: he will farm all the fields for the whole village single-handed. He also sleeps for a whole season unless the village needs him. Zantogola also inspires a message of humbleness. In these dark times, Zantogola stands against growing nationalism and the tightening of borders to create a spirit of common purpose and brotherhood. Gùndo Fara means “secret revealed” in Bambara, one of the most widely spoken languages in French speaking West Africa. This 45 rpm loud cut 12’’ EP is an introduction to an eleven track album to be released in spring 2019, it is limited to 300 copies and comes with B side drum mixes that will not be included on the spring album release.
Composed and arranged by Alexandre Yemaoua Dayo Produced by Matteo Boyero and Alexandre Yemaoua Dayo Recorded by Matteo Boyero at Wahever Records, except drums on “Tare” recorded at the Alex Dayo Drumming School, and bass and electro valve instrument on “Taré”, recorded at Dondoli Studio by Joseph Sangare Mixed by Peter Soldan at Dada Studios Mastered by Simon Davey at the Exchange Artwork by Sandra von Hazelberg
Musicians Seli: Alexandre Yemaoua Dayo: lead and backing vocal, drum set (congas, djembe, cymbals, high hat and calebasse), bass bara, doundoun, kenkeni & top bell, sabar, tama, maracas Shreya Rai: lead and backing vocal Dabaiyah Fidel: backing vocal Abdoulaye Sanfo: djembe solo Moussa Dembele: balafon (xylophone) Hien Narcisse Likite Moustique Piqué: medium bara James MacPhail: bass Owen Arthur: electric rhythm and lead guitar Robert Goldsmith: baritone sax David Kemp: alto sax Nick Onley: tenor sax Matteo Boyero: drum machine kick programming
Taré: Alexandre Yemaoua Dayo: lead and backing vocal, balafon, rhythm djembe 1, drum set (congas & djembe 2), bara, sabar, cowbell, shekere Abdoulaye Sanfo : djembe solo, rhythm djembe 3 Hien Narcisse Likite Moustique Piqué: kenkeni and top bell Marta Badia Marin: background doundoun Shreya Rai: lead and backing vocal Pale Togo Clément: bass Raphael Anker: EVI (electro valve instrument) John Garner: violins Robert Goldsmith: baritone sax David Kemp: alto sax Nick Onley: tenor sax Matteo Boyero: drum machine kick programming
Sya drums (musicians present in the full version of the track not included): Alexandre Yemaoua Dayo: rhythm djembe 1 & 2, djembe solo, drum set (congas & djembe 3), maracas, woodblock, doundoun, kenkeni & top bell, criquet Sophia Mogapi: drum kit (snare and cymbals) Abdoulaye Sanfo: djembe snare Matteo Boyero: drum machine kick programming
Special thanks to Peter Soldan at Dada Studios, Joseph Sangare at Dondoli Studio, Sandra Von Hazelberg for the artwork, Finsbury Park Art Club and all the students at the Alex Dayo Drumming School.
Notes by Alex Dayo: Seli” means “pray”: whatever our beliefs as human beings, let’s pray to know ourselves so that we can gain a better awareness of humanity’s needs. “Taré” means “majesty”. How great is your mother’s love. How great is a lover’s love. It’s your choice to find the balance: as we cross many rivers, we encounter many mothers and loved ones. The greatest, they are in my heart majestically, I shall never forgot them. Not all women give birth to a majesty. I’m talking too and dedicating Tare to her Majesty, my mother Sita Sessouma, my mother by the river Kalpana from Nepal, and to all you great women from all over the planet. I specially dedicate this EP to all my students.
Kalahari Oyster Cult have been thumbing through their back catalogue and return to a past gem for some renewed attention. 2017 saw the release of Erell Ranson’s Hand in Hand, a quintet of beautifully crafted machine music. Two tracks have been chosen from the EP and remixed with stunning results.
First up is Dj Normal 4’s “Sealife Safari MixX” of “If We Never Try.” The sweet, shimmering melody of the original, the bubbling bass and subtle notes, are transformed in this remake. Silvery chords morph into bold and daring new forms under the tutelage of Tim Schumacher, neon streaked patterns coalescing with broken and cracked percussion for a superbly uplifting piece.
Pariah follows with his rework of “Hand in Hand.” A deep dreamscape intricately woven with heady notes, birdsong and endless possibilities.
The final odyssey comes care of SW (Stefan Wust) of SUED fame. The Berlin based musician delivers his reimagined idea of “If We Never Try” with Ranson’s version being washed over by lapping lines and gentle currents to create a smooth rounded finale. A trio of unique perspectives from three true talents of electronic music.
a1. Erell Ranson - If We Never Try (DJ Normal 4 Sealife Safari MixX)
a2. Erell Ranson - Hand In Hand (Pariah Remix)
b1. Erell Ranson - If We Never Try (SW. Amnesia Interpretation)
De Lichting is back for their second double vinyl album titled; “Twee”. The collective showcases a genuinely sensitive and pure sound resulting in an emotionally charged album.
The A-side kicks off with Boris Acket & Kaap. The live and improvised performance “De Tuin” starts as a percussive soundscape and evolves into light footed ambiance, which resonates to a designated chill-out space, followed by “Verwar” of Eversines. A darker hedonistic cut thanks to its atonal pads and heavy but sensual low end. A polyrhythmic breakbeat is introduced, which releases the tension and clears all the grey clouds to its sonic spectrum.
Human Space Machine & queniv take over the B-side this time, working their way through an emotional techno journey with Human Space Machine’s “Feels” and the most apocalyptical techno banger we’ve heard from queniv so far called “U.I.C”.
Switching records to the second vinyl, we start on the C-side with Boris Acket’s “Humming”, a house anthem sure to jerk the tears of euphoric dancers. Continuing, three other cuts which are Nathan Surreal’s “Chaos In The Echoes”; a mental deep weapon, queniv’s museum inspired experiment “Kruller Muller” and “Onvoorwaardelijk” by RDS. C4 lives up to its number; blowing up clubs with a lovely sensitive yet dangerous electro bomb of a track.
When the concluding side is put on, we’re taken aback by Kaap’s “Hartzeer”, a heart aching combo of 707 drums, grungy textures and a rolling 16th bass, which goes right in the feels. RDS is featured a second time on D2 with “Haat & Liefde”, resulting in the most acoustic sounding track on the compilation before we end with Eversines’ “2Anticipate”. An ambient cut where the 303 acid synth has hardly ever sounded so soft, tender and more sincere than you’d expect. And so, the album is wrapped up and implies a feeling of a new start to the next compilation.
It’s not the fall that hurts, it’s when you hit the ground – that’s what „Failing Upwards“ is all about. On Lehult’s fourteenth release Lucky Charms breaks away from 4-to-the-floor territory to deliver a fun trip through skippy drum workouts and jazzy warmth. Spread out across the full A-Side is “Einbahnstraßen-Sound". Heard first on the Lehult Worldwide FM Special last year, this highly requested tune finally sees the light of day in all its trippy, warm, analogue glory. “Oase” takes things a notch deeper by layering lush synths, swarming melodies and ski field recordings over a laid back electro-groove. “Rex Dubius” translates the vibe of the first two tracks into a more straightforward, dubby groove - not without the skipping beats and the warm counterparts, though.
NormCore emotions from two Bristol lovers and Dreamers that involves the deliberate choice of unremarkable or unfashionable casual electronic music. Odd Shy Guy & Rose Again after several Mango Juices..
Pop down Shamansbury's, pick up a double pack of Gregorian Chanting. Add water, stir in some Acid and a side of Wonk. Microwave for 2mins. Bingo. Arms aloft fun for the whole family.
a. Unknown Artist - Georgian Monastic Chant (Pill Mix)
b. Unknown Artist - Georgian Monastic Chant (Psychedelic Mix)
Mark du Mosch, Credit 00, William The Squid, Jared Wilson and Eluize join on Pt. 2 of this year's War Child Fundraiser from Craigie Knowes. Acid, House, Disco-vibes and dreamy Electro sounds across this awesome 5 track EP - the second instalment of the two-part series.
Ingmar Pauli with his masculine take on The Hague disco. Phat bass lines, vocoders, big strings and synth themes with its roots in Italo disco and electro. Great tracks and probably the best Mr Pauli release so far! The second release on the Clone West Coast series... the series that will feature some of the big players of the Dutch west coast electro disco scene. Mr Pauli rocks!
Melodies International proudly moves forward with an elusive piece of mid-tempo Chicago soul originally performed by Gloria J. Jennings in 1977. Gloria was signed to Stage Productions as a gospel singer with pure and raw talent she had developed in the choir of her father’s Southern Baptist Church. She was 16 years old at the time. To tutor her for R&B vocals, Willie C. Nance of Stage Productions spent 3 months taking the artist back and forth for vocal training 25 miles each way, 3 days per week. At the time, Mr. Nance had made plans to work with singer and songwriter Theresa Eagins to record “Know What You Want". However, two days before the recording was set to begin, Ms. Eagins refused to move forward with the recording as she chose to take her religious faith more seriously and forgo the singing of secular music. Hence, Stage Productions turned to Gloria Jay to perform a song that would go on to move people thousands of miles away, many years later. One of them was Patrick Forge: “Back around 1990 I had a residency upstairs at the Wag Club on a Friday night alongside Paul Martin (he was Gilles P’s A&R right hand man at Talkin’ Loud), the night was called Respect and we played mainly Soul, Boogie and Jazz-Funk. Many years later I bumped into Paul at a record shop and he quizzed me about a tune I used to play at the end of the night at Respect. He described it as being an independent Soul seven inch on a red label, slow to mid-tempo… and more to the point a bullet of a record. It piqued my curiosity so much I burrowed through my seven inches and even made Paul a compilation of likely contenders; his response was “lovely selection, but it’s not on there!". Damn, a mystery! Many moons later whilst I was living in Japan, my tenant in my London flat said she’d found an old mixtape I’d done for her way back when.
So far we landed to Vol.10, this time with a stunning release from L.U.C.A. of Edizioni Mondo
Francesco De Bellis is one of our favorite producer with tons of releases as Francisco, Jolly Music over the last two decades
His music is a kaleidoscopic universe of beautiful harmonies reminiscent of master italian composer like Morricone, Stelvio Cipriani and Alessandro Alessandroni, blending together soundtracks, “summer of love” atmospheres and balearic pleasure.
Despite being a part of the music industry for decades, releases that bear Akira’s name have been few and far between, with most of them coming from his post-punk heydays in São Paulo in the mid 80’s.
40% Foda / Maneirissimo’s very first vinyl release is a showcase of tracks from that era, unearthed cassette tapes that have been mastered and pressed to vinyl and are being brought to the public. All of the material is old but unheard and until now unreleased.
Secondo is back with a brand new two-track 12" aimed squarely at the more discerning dance floors out there.
‘Shakin’ on the A-side is a disco inflected bomb full of funky edits, sampled guitar licks and an irrepressible hook that gives the whole track a distinctly Italo boogie feel.
Meanwhile, on the B-side ‘Nine Toms’ is a more laid back affair, a mid-tempo burner with soulful groans, off-kilter percussion and a wicked throbby bassline guaranteed to get you grooving.
Look out for future What About Never releases in the coming months – a welcome return for AM/PM and a debut EP from Valerie from the Galerie, both scheduled before the end of the year.
‘Fires of Quidel’ is the culmination of Son Swaggas first year as a band, a year spent refining their music, building connections as bandmembers and friends, and finally recording at Greenfield studios with analog gear to bring their sound to life. With this album Son Swagga present themselves to the world and showcase the passion they bring to music as well as the individual talents of the bandmembers.
A few years ago, Melodies family members Floating Points and DJ Red Greg got their hands on a couple of original 70s obscurities. While these standout records shone brightly in their own right, the two DJs saw the potential to create their own edits behind the scenes, finely attuning the original versions to modern-day dancefloor standards. Of these new recordings, they cut only five copies for themselves and a few DJ friends of theirs. Today, Melodies International is very proud to bring you MEL006 and MEL007. Fully licensed, lovingly mastered to the highest possible standards and carefully edited to dial up that dancefloor enjoyment, these two 'You're A Melody' classics weren't originally meant to get official releases. But due to popular request, they are now available to play and share in very special moments at parties around the world.
MEL7, Maurice Moore's ethereal Hammond bass soul anthem "Everything That Shines Ain't Gold", is pressed as a 12-inch, with parts 1 and 2 from the original 7-inch merged on one side, and the FP edit on the flip. A multi-instrumentalist, the talented Moore grew up in Chicago listening to music from the local scene, including the likes of Etta James, Boe Diddly and Chuck Berry. Unable to pay for guitar lessons, Moore learned what a major, a minor and a 7th chord were from his uncle and went from there. After opening for legendary acts such as James Brown, Parliament, Funkadelic and Kool & the Gang, Moore and his band went on to record their debut album in 1976 before he took a back seat in the 80s to focus on the business side of things - a period when he fell in love with the process of bringing amazing music to the world. To this day, this record holds true to his passion. Written in 20 minutes, "Everything That Shines Ain't Gold" gains a new lease of life on MEL7 - exactly 40 years after its original 1977 release.
a1. Maurice Moore - Everything That Shines Ain't Gold (Part One and Two)
b1. Maurice Moore - Everything That Shines Ain't Gold (Floating Points Edit)
Second release from the label offers up broken rhythms, jacking grooves and deep spirituals. Hold Me explores lyricism within tight repetitious rhythm, on which saxophonist Tyrone Isaac-Stuart explores hook lines and story telling whilst bassist Jordan Christo maintains control over the low-end spectrum.
That He Man Of Hers melds jacking, upbeat tempo with romanticism and melancholy on top, with Louis Ktisti providing guitar accompaniment. One's Own Permanent Faith, on the other hand, provides for a moodier and more subdued spiritual dance rhythm, which warms one up before the spiritual explorations in Would You Tell Me About You. In this final track, the guitar rhythms provided by Jabriel AlSuhaimi and spiritual exorcism of the saxophone by Tyrone Isaac-Stuart present a different angle in the approach towards discovering the endless groove.
Credits:
Written Simas Savickas Produced by Arnheim Alto Saxophone by Tyrone Isaac-Stuart (A1, B2) Guitar by Jabriel AlSuhaimi (B2) Electric Guitar by Louis Ktisti (A2) Electric Bass by Jordan Chriso (A1) Recording Sessions Engineered by Ato Ayerra Published by Barbara’s Soul Body Music Manufactured by Well Tempered Distributed by Unearthed Sounds
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