Demdike Stare and Andy Votel.

Previously unreleased house from southside Chicago, 1989.

Ace soundclash deejaying over a banging digital excursion on Rockfort Rock.
Trumps the Fatis piece.

Chilled, elevated, hypnotic, move-on-up grooving, out of the Miami reggae underground.
“I know how / to milk a cow.”

Radiant 1950s Tanzanian pop.
‘As a trio Frank Humplick, Thecla Clara and Maria Regina recorded and toured throughout East Africa and issued a string of instant classics, capturing fans with their beautifully harmonized singing, clever lyrics, and Frank’s stunning guitar work. Imagine the fingerstyle finesse of John Fahey cut with a pure pop melodicism, and combined with the family harmony of groups like The Carter Family, The Roches, and The Beach Boys, set in the golden age of Tanzanian music!’
With a colourful eight-page booklet featuring complete lyrics in English, Swahili and Chaga, as well as previously unpublished photographs, extensive interviews, biographies and anecdotes.

Raw, rocking cannibalisations of Yemeni folk — with dashes of dabke, trance and Mulatu Astatke — at moments using junk made to sound like age-old lutes and percussion.

Electrifyingly intense Chaoui music from the Aurès region of Algeria, booted into the future, with drum machines, phased gesba flute and reverbed-out vocals.

Algerian chaabi.

Vintage rai.

Vintage rai.

Vintage rai.

Deep hypnotic Moroccan folk.

Released to celebrate his centennial, here is the great jazz guitarist live in performance in Berkeley, California, in 1962; with Johnny Griffin, Wynton Kelly, Paul Chambers, and Jimmy Cobb.
All the recordings from these sessions — our absolute favourite Wes Montgomery — including two previously unreleased performances.
‘Montgomery seems never to have played anything lacking his innate mirth and happiness. In that he had an amiable Midas Touch that made his performances uplifting and immediately identifiable. Montgomery had a tangible simpatico with Kelly, both being superb blues and ballads players. When unison playing, the two are of one mind, that of swing and propulsion. Griffin’s presence adds a woody organicness that is both fecund and free (AllAboutJazz)’.

Generally considered his best studio album.
‘His solo on West Coast Blues is very nearly incredible’ (The Penguin Guide To Jazz On CD).
A quartet session from 1960, featuring wonderful accompaniment by Tommy Flanagan.

Early-eighties UK roots fire originally rolling out of Peckham in South London, on the Kim label, by way of Jay Dees record shop in the High Street.
Both sides are deep, reverberating, hypnotic, zonked, dread, Wackies-style murder.