Yes - this is a very special record: NYC‘s Phenomenal Handclap Band meets London’s Ray Mang - the psychedelic soul disciples meet the disco champ by way of remix. Ray Mang is a hero to fans of underground disco: remixer, collector, producer, DJ - he is part of that magic circle of London DJ connoisseurs around DJ Harvey. He has the magic disco touch, and has applied it to great effect to PHB’s “Judge Not". He did a fresh, new take on house-heavy gospel disco that is sure to fill any dancefloor. Try it! For those who don’t know New York’s almost legendary band: The Phenomenal Handclap Band is led by producer Daniel Collás, and consists of some of New York’s finest new soul & disco musicians. Some of them used to play in the Amy Winehouse band and others can be heard on some of Mark Ronson’s productions. Their biggest moment was when they released their single “15 to 20″ some years ago (on Gomma Records) and Paul McCartney wrote them a letter about how much he loved that song when he heard it on BBC Radio 1. On “Judge Not” they come up with dazzling piano lines, a deep rare funk rhythm section, and a street corner gospel choir that brings you to your feet. Ray Mang heard the original version of this song and was hyped to become involved in the remix, and the pairing is complementary to say the least. Many of you know PHB from their collaborations with such luminaries as Peaches or Marcos Valle or Bryan Ferry, a prime appearance at the Glastonbury Festival, and direct support on Bryan Ferry’s US tour. The group is currently finishing a new album.
a1. Judge Not (Ray Mang Special Mix)
b1. Judge Not (Ray Mang Instrumental Mix)
b2. Judge Not (Ray Mang Reprise)
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Release Date - 21st December 2018
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.
"Based in Flint, Michigan, USA the four young sons of an electrician welded together their debut album. This album, titled Elektroworld, is a personal tribute to the well known pioneers of the electro-disco-beat; Kraftwerk." Clone Classic Cuts reissue of the illustrious Elecktroids' one and only album from 1995.
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.
1987... for those lucky enough visiting a decent import shop in that year could have seen a US import record with pink label showing a darts board with small text next to the picture saying "Target records" and "Joe R. Lewis". Pretty sure nobody at that time would be alarmed by this... reading further it said... 1. Love Of My Own... Written and produced by Joe R. Lewis... in even smaller text the label info continued; mixed by Larry Heard..! And even that, at that time that would not have rung a bell, except for maybe a couple of dj's who only just in the last couple months picked up copy of a Mr. Fingers record and memorised the writer credits. We're talking the very early days of House music, the pre-internet era where new music and info didn't spread all over the globe within a couple of seconds... Now more then 30 years later this is a holy grail for worldwide record collectors and house aficionados, and still not all info is clear. But like all good stories there is a cloud of mystery covering up the details! On the flip side there is one of the best tracks ever produced by Joe Lewis.., Life Immoreal... a track so elegant and beautiful that it hurts!!! Two of the best tracks Chicago House music has to offer in remastered versions taken from the original master tapes on this latest outing of Clone Classic Cuts!
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