Ka-boom! The legendary digger re-ignites the Lagos Disco Inferno and kicks off his very own mouth-watering imprint with two sides of boogie-down bliss.

Deep hypnotic Moroccan folk.

‘Saharan trance stun guitar… a hypnotic choogle that rivals both the Magic Band’s early 70s marathon workouts and the Velvet Underground’s drone on tracks like Sister Ray.’

Gorgeous currulao from the Pacific coast of Colombia.

Rough, tough, tumping, bumping soundboy breakbeat from the Caribbean coast of Colombia.
Forty brand new buckaroos, tooled and primed by Jeanpi Perreo, Edwin Producciones and DJ Ander — all from local sound-systems — careering guarapo-style out of punches of vintage Nigerian highlife, waka and co, by legends like Steven Amechi, Sagbeni Aragbada and Cardinal Rex Jim Lawson.
Edited and mastered by CGB at D&M for maximum oomph and worries, and presented in a gatefold sleeve with cool and deadly varnishing. Plus a full-size booklet detailing the fascinating history of this music, seamed into the strange, tentacular byways of hand-to-hand vinyl distribution, record collecting and musical connoisseurship, and the soundclash traditions of the region, suffused with the politics and culture of the Black Atlantic, stretching back to the 1950s.

Invigorating, soulful music; warmly recommended.
The langeleik is a box zither with one melodic string, and three to eight accompaniment strings or drones. Gunvor was taught by her grandmother. Here she is joined occasionally by two violinists and a a second zither.
The compositions are mostly traditional and centuries-old. The drones draw you in deep; the melodies take flight. Rapturous waltzes, giddying dance music, aching laments, sublime evocations of nature…

Dusting off Armenian, Greek, Arabic, Kurdish, Assyrian, Persian, Caucasian roots — and ‘a stillness that has not been darkened at all, and has the degree of density that leaves the Gurdjieffian silence immaculate.’

Grooving Ghanaian boogie from the wizz keyboardist.

A mix of overlooked gems and local boomshots from the cassette tape scene in Libya, during the late 80s to early 2000, when independent artists relied on makeshift home studios or travelled abroad to record in Tunisia and Egypt. A judicious mash-up of boundary-pushing sounds which reflects this precariousness and nascency; also the political and cultural crossroads at which Libya found itself. North African rhythms meet Arab melodies and deep African roots. Disco and house run into gritty pop. Reggae courses through, with an unmistakable Libyan twist — not just musically, in the slowed-down cadence of traditional shaabi beats, but also culturally, taking to heart its outernational message of proud, defiant self-awareness.

Assembled by Habibi Funk with personality and love, as per; with a 32-page booklet. Another winner.

An all-time classic of contemporary Egyptian music, recorded in 1971. The composition is by Baligh Hamdi, for a full orchestra, featuring Omar Khorshid on guitar.

It’s a one-man-band evocation of the traditional accordion sound of his youth, adding a Moog, Rhodes and beat box. Light and fleet-footed, but questing and utterly heartfelt.
Switched-on Ethiopiques, refreshing and lovely as anything. No doubt insufficiently solemn and inauthentically-authentic for World Music plod, but hotly recommended by us.

Taking a break from cabbing duties back home in Washington DC, for his first LP in fifteen years. Ethiopian standards and originals; his unmistakable melodica, accordion and keys, in the same double-bass-and-drums setting as recent live shows.