Irresistible tropical psych-funk by Colombian sisters Elia and Elizabeth Fleta. 
Drawn from just a handful of recordings, between 1972 and 1973, accompanied by Jimmy Salcedo and his group La Onda Tres.

Deep Berlin steppers. Dubwise traces of our original Lagos recording — the percussion of Yinka Ogunye, the singing of fifties palmwine legend Rolling Dollar, Oscar Olimbi’s guitar lick — blend in with Moritz’ own warm Oberheim voicings, additional drumming, and cool-and-deadly rhythm track. It’s a tough, masterly dance record in fine Rhythm And Sound style (evoking vintage House, too) — which during its ten-and-a-half minutes seems to ponder time elapsed and journeys undertaken.
Reggae Land Dub is the thumping, pared-down dub of Wareika Hill Sounds’ rootical rework of Ise Nla. Magnificent trombone and percussion; expert, classical JA mixing. Brings to mind the versions of Black Man Stand Up Pan Foot.

This was the first in our series of Shangaan homages.
A metronomic, clicking beat to drive you crazy; a kind of Motorik lash — dubwise, midrange; moody strings.
Wry, driving, one-of-a-kind genius.

Gasba fire drawn from Ahlem Édition, the Oran-based label founded in 1992 by Abdelkader Haci.
Hypnotic flute melodies laced through hard-grooving, synth-led raï rhythms, heavy drum machine workouts, throbbing basslines, and slow-burning, hyper-soulful witness.
Hotly recommended.

Transportingly sublime, dazzlingly virtuosic Carnatic chanting in Sanskrit about female divinity, accompanied by mridangam drums, bells and tambura drone. Beautifully recorded, in Chennai. The chorus singing is the coup de grace.
Ravishing, restorative music; hotly recommended.

Lovely, rootsy, melancholic, multifarious music from Angola. Check the sublime, chugging proto-house of Kazum-zum-zum, to start, with its twist of Afrobeat; then the hypnotic Fourth World marimba of Kizomba Kya Kisanji; then the expressive soul of Dembita, flowering out of Baden Powell… Warmly recommended.