{"title":"Les Disques Bongo Joe","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eAfter seeing photos of our record store in Geneva named after their long-lost relative, George 'Bongo Joe' Coleman's family was overjoyed that European music lovers decided to honor his name. To learn more about Bongo Joe Coleman, you can visit \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Bongo_Joe_Coleman\"\u003ethis link\u003c\/a\u003e. And if you want to experience his unique sound and style, check out his performance of \"I Wish I Could Sing\" \u003ca href=\"https:\/\/www.youtube.com\/watch?v=ez_3bqMI\u0026lt;\/p\u0026gt;\"\u003e\u003c\/a\u003e\u003c\/p\u003e","products":[{"product_id":"confusion","title":"Confusion","description":"\u003cp\u003eAn hour of finely crafted grooves where cosmic atmospheres meet late night bangers.\u003cbr\u003e \u003cbr\u003eWhile on a break due to a certain pandemic, L’éclair threw itself in the making of a new album. Until that point recording sessions were usually really short. Former albums were made in only a few days and recorded mostly live on tape. That changed as the band decided to do four recording sessions over nine months, hence allowing the group and its sound engineer\/manager Benoit Erard to spend more time and energy on the production. With the ability to step back and reflect on the work in progress, L’Eclair had the occasion to take things a step above in terms of arrangements, compositions and structures. The result is an hour-long 12 tracks record, which is more\u003cbr\u003ediversified and concise than previous efforts.\u003cbr\u003e \u003cbr\u003eTitled \u003ci\u003eConfusions\u003c\/i\u003e, the album shows L’Eclair’s obsession with groove in all its forms. It blends club vibes with psychedelic grooves, rhythmic trances and ambient comedowns while retaining a true coherence. Produced and organic, danceable and ethereal, spontaneous and cerebral, joyful and melancholic, “Confusions” is always on the fence between very different moods without ever wandering off. The band’s never fading influences are still there: you can hear hints of CAN, Piero Umiliani or Tangerine Dream here and there. But it’s melted with different universes, such as late 80s Madchester or Aphex Twin and Boards Of Canada’s textured worlds. There is also a strong Hip Hop feel with sampled-based tracks and non-binary beats that recall the likes of great producers like Madlib, MF Doom, J Dilla or even Timbaland. 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Their eponymous debut album sounds like a call to travel beyond the barriers of sound, a call to a horizon without a visa. \u003cbr\u003e\u003c\/p\u003e","brand":"Les Disques Bongo Joe","offers":[{"title":"CD","offer_id":50382866645323,"sku":"2011905","price":8.99,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":50382866907467,"sku":"2011906","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Yalla_Miku_dabfaa92_thumbnail_4096.jpg?v=1726261466"},{"product_id":"lherbe-de-detourne","title":"L'herbe De Détourne","description":"\u003cp\u003eFollowing in the footsteps of \u003ci\u003eL'Espròva\u003c\/i\u003e, a record released in 2018 by and \u003ci\u003eMantras\u003c\/i\u003e, a body of long instrumental pieces, Ernest Bergez joins Jacques Puech, Elisa Trebouville and Loup Uberto to explore the possibilities of a collective energy. \u003ci\u003eL'Herbe De Détourne\u003c\/i\u003e achieved to catch the vivid energy of the band playing live and combined it with all the sonic explorations the musicians had in mind for a long time, in a completly free state of mind. 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Songs with transcendent refrains, and synthetic laments with romantic melodies, carried by groove box-like rhythms. An album on the borders of chamber pop, medieval chants and ambient. The lyrics are at times poetic, angry or dreamy.\u003cbr\u003e\u003cbr\u003eThe first sketches of the album were drawn during the first confinement when time was slowing down. The songs were then recorded in a DIY way by the band in their studio in Geneva during the year 2021. The first sessions were recorded on tape with a Tascam 688, then expanded and edited on computer. Some additional recordings were made with the help of sound engineer Yavor Lilov (L'Éclair) and some guests : Fhunyue Gao on theremin, Sébastien Bui (L'Éclair) for some synth parts.\u003cbr\u003e\u003cbr\u003eThe album was then worked on and mixed with Jacco Gardner in his Antwerp studio. His analogue world allowed the sound of the album to grow and deepen. 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Drawing inspiration from African highlife and soukous traditions, Álvarez crafts a fearless sonic experiment infused with invention, playfulness, and emotion. Unlike typical tropical guitar records, this album eschews distortion and clichés, opting for a pure, clean approach. Through intricate compositions blending cumbia, champeta, soukous, Brazilian tropicalia, and underground psychedelic rock, Álvarez pays homage to the golden era of Congolese rumba, Ghanaian highlife, and Nigerian afrobeat. \"Mi Latinoamérica Sufre\" delves into the ego trip, presenting a humorous yet introspective journey of self-discovery and identity. The central character, Junior Maximiliano the Third, navigates through the complexities of self-discovery using psychedelic substances, political philosophy, and folklore. As he grapples with nostalgia, paranoia, and shared suffering, Álvarez showcases his vocal prowess, creating a sonic theater of the mind. 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It gathers musicians from various horizons and of many generations, who shared the desire to create an immersive soundscape and to combine electronic music with non-Western musical traditions. As a general rule, the Anglo-Saxon tropism did relate the spanish peninsula’s ambient music to the Balearic Sound, that is to say to the relaxing music played in Ibiza’s nightclubs. But this music takes place in the productive territory of experimental musics, and particularly in its two main breeding grounds: the tape recording underground and the independent musicians-producers scene. \u003cbr\u003e\u003cbr\u003eInseparable from the processes of self-publishing, distribution and exchange of music that were then taking place in Spain in an artisanal way, the vast underground movement of cassettes was divided between an \"ethno-trance\" combining industrial beats and oriental sounds on the one hand (Esplendor Geométrico, Miguel A. Ruiz \/ Orfeón Gagarin) and unclassifiable low-fi tinkerers on the other hand (Camino al desván, Eli Gras, Mataparda, Victor Nubla). Hyperactive, this scene is radical and strongly dominated by the hardest musical styles, but the ambient, influenced by the German Kosmische Musik and \"krautrock\", also develops here.\u003c\/p\u003e\u003cp\u003eThe second vein of Spanish ambient comes from some of the independent labels of the peninsula (DRO, GASA, El Cometa de Madrid, EGK) whose activity will mark the return of some of the most adventurous musicians-producers of the 70s. Some were influenced by American minimalism (Luis Delgado \/ Mecánica Popular, Suso Saiz, Javier Segura), others by Fourth-World Music conceived by Jon Hassell and Brian Eno (Finis Africae, Jabir). Having passed through folk, ancient, traditional or contemporary music, and being familiar with improvisation and studio techniques, these artists come from a mutant hippie culture, capable of phagocyting many musical styles from electronic ambient to ethnic improvisation and modal jazz. \u003cbr\u003e\u003cbr\u003eThese two scenes and generations that make up \u003ci\u003eLa Ola Interior \u003c\/i\u003eintersect around a common interest in non-Western musical traditions. Their exploration may be that of the tribal origins of electronic rhythms or the Arab heritage of Spain. Above all, it is a dreamy exoticism, an immobile journey as the sounds, rhythms or instruments of these traditions are scrutinized by Western practices (avant-garde music, electronic technology). The result is a hybrid music, filtered and reinvented, neither Western nor extra-Western, with a pronounced taste for the fusion of opposites, which we have called \"Acid Exoticism\" because of its permanent search for trance or contemplation. Atmospheric, contemplative and serial, these musics still plunge us today into a sensorial journey, at the same time interior and distant, organic and technological, between exotic reminiscences and interior visions. \u003c\/p\u003e\u003cp\u003eTRACKLISTING\u003cbr\u003e1. Miguel A. Ruiz - Transparent \u003cbr\u003e2. Camino al Desván - La Contorsión de Pollo\u003cbr\u003e3. Mecánica Popular - Impresionistas 2\u003cbr\u003e4. Finis Africae - Hybla\u003cbr\u003e5. Orfeón Gagarin - Última instancia\u003cbr\u003e6. Victor Nubla - 20000 Lenguas\u003cbr\u003e7. Javier Segura - Malagueñas 2\u003cbr\u003e8. Jabir - Vuelo Por Las Alturas De Xauen\u003cbr\u003e9. Miguel A. Ruiz - Trivandrum\u003cbr\u003e10. 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But the harmonies and melodies are still present and sometimes event enhanced by the occasional participation of a choir of female voices or a minimal synth line. Always with this desire to use French, their mother tongue, while trying to avoid the trap of ‘variété française’.\u003cbr\u003e\u003cbr\u003e“With this new album, we wanted to try something slightly different with the sound. Explore new ways to record our instruments and voices. Thus we decided to put away our amplifiers that we used for rockier moods. And we tried the acoustic option. We were surprised by the wide range of possibilities, much more direct and much more emotional actually. About the texts, we still insist with this open way of writing, a mixture between abstract and concrete which offers several understandings. 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The Amsterdammers who come from various backgrounds (Turkish but also Indonesian and Dutch) comfortably create their work in the adventurous no-man’s land that exists between these two worlds.\u003cbr\u003e\u003cbr\u003eOlder generations of Turkish musicians have also experimented with opening doors between previously unconnected sonic worlds. During the seventies, artists such as Baris Manço, Selda Bağcan and Erkin Koray practiced a way of songwriting and composing similar to Altin Gün’s. They took the music played during the festive occasions and serious formalities of their childhood, folk songs backed by a traditional Turkish string instrument called the saz. To this, they added the techniques and vibes of their times and the result then went on to become a distinct Turkish sound during 1972-1977 which even today still sounds rich, danceable and (alright then!) heavily mind bending.\u003c\/p\u003e\u003cp\u003eThe Altin Gün band members first encountered this music in various ways: through their upbringing, via friends or after finding life changing compilations in record shops. 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The Orchestre Tout Puissant Marcel Duchamp (a mischievous title in homage to traditional African groups -Orchestre Tout Puissant Konono n°1, Orchestre Tout Puissant Polyrytmo etc... -and to one of the greatest dynamizers of 20th century art) embraces the forms of its musicians while pushing them to their limits. The result is a powerful, experimental, unstable and terribly alive, organic sound.\u003cbr\u003e \u003cbr\u003eThese characteristics can be found on \u003ci\u003eWe're OK. But We're Lost Anyway\u003c\/i\u003e, fifth opus of the band. Built around twelve musicians, extirpated from their respective biotope, it develops a repetitive musicality which, deployed in successive waves, creates a feeling of trance. Mixing free jazz, post punk, high life, brass band, symphonic mixtures and kraut rock, their sound only goes beyond the limits of genre. Transcendental, almost ritualistic, the music is coupled with powerful lyrics, declaimed in rage against a world that is falling apart.Adorcist, hypnotic and postsyncratic, the Orchestre Tout Puissant Marcel Duchamp, far from Tzara's manifesto, is somewhere between Hugo Ball's phonetic psalms, a Sufi procession that turns into a brawl and a voodoo ritual, but always with a precision proper to the monomania of an asperger.\u003c\/p\u003e","brand":"Les Disques Bongo Joe","offers":[{"title":"CD","offer_id":50478354989387,"sku":"1136254","price":8.99,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":50478355317067,"sku":"1136255","price":11.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/bd9f648d-9f42-4abd-a116-0bfb9021d003_thumbnail_4096.jpg?v=1727483228"},{"product_id":"djine-bora","title":"Djine Bora","description":"\u003cp\u003eIn response to the current political and ecological turmoil, the famous Malian quintet BKO appeals to the magical spirit of the djinn with Djine Bora (the appearance of the genie). An explosive and mystical third album, embodied by a music of resistance, the fruit of their unique experimentation with Mandingo music and their extraordinary history The three letters B.K.O. are the code for Bamako airport. It is in the Malian capital that the group has been rehearsing since 2012. In the same year that Mali declared a state of emergency, no one could have imagined that these musicians would be responsible for three albums and over 450 concerts in 25 different countries. BKO fights, does not fail, unifies and looks like no one else. In this album, the band delivers an abrasive music where tradition is tinged with rock, polyphonies, distortions and shrill breaks. They invoke ancestral spiritualities by marrying for the first time in Mali two diametrically opposed traditions. In the course of the ten tracks of \u003ci\u003eDjine Bora\u003c\/i\u003e, BKO propels the traditions within a powerful and hybrid universe, just like Bamako. 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Born in 1944, his career began at teenage, with his faithful band Os Leonenses, who were mostly members of his family and shared most of his musical life; and lasted until his death on January 31st, 2019. Until the very end, he kept performing big events all around the country, and was among the very few singers and bands from Sao Tomé and Principe that recorded in Luanda Angola for N'Gola and Merengue labels in the 70's, and in Lisbon for the essential IEFE imprint in the 80's. \u003cbr\u003e\u003cbr\u003eRespected father of 27 children from 4 different wives, people named him \"A voz do povo de Sao Tomé\", the people's voice of the island, as he always made very clear his political views on internal affairs and backed since day one the revolutionary party that took power after the independence obtained from Portugal on July 12th 1975. A powerful and free soul, expressing through his beautifully soft and deep voice range, the concerns of the poor, in this often-troubled country. \u003cbr\u003e\u003cbr\u003eHis funerals were the biggest ever organized on the island, and were paid for by ex-president Pinto da Costa, gathering thousands to accompany him to his last home. \u003cbr\u003e\u003cbr\u003eHis music is wonderfully rich and delicate, though quite minimalistic in arrangements, revealing the subtle melodies of the islands' harmonic and backing vocals traditions, laid on either incredibly energetic Puxa rhythms, or the sweetness of sensual Rumbas. \u003cbr\u003e\u003cbr\u003eContinuing our work on Sao Tomé and Principe with curator DJ Tom B., we are pleased to announce the release of \u003ci\u003eRecordar é viver - Antologia Vol.1,\u003c\/i\u003e the first volume of a retrospective of Pedro Lima’s work. 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Recorded in Malawi in November of last year, the duo, along with their “accidental manager” Neil Nayar, headed into the studio with a clearer idea of how to to capture that Madalisto Band sound without losing any of their groove and infectious energy. After all, this is music to make you clap, dance and smile.\u003cbr\u003e\u003cbr\u003eThe Malawian duo’s setup comprises a homemade one-string slide bass (Babatone), a cowskin foot drum thumped with the heel and a 4 string guitar. The guitar, played by Yosefe Kalekeni, holds close to the rhythm while lead singer Yobu Maligwa’s long-necked, babtone serves as both the bottom end and lead. When asked why they make their own instruments, they will simply reply “that’s how we get the sound we want.”\u003cbr\u003e\u003cbr\u003eLive, these songs stretch out well over 10 minutes, designed to get and then keep the audience dancing, but on this new record they were fine tuned and trimmed back before heading into the studio. 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With a background in experimental and contemporary music, Eacott “thinks about essential things like sound and time within music and space, and contributed this whole mindset to Grup Şimsek” says Yıldırım.\u003cbr\u003e\u003cbr\u003eŞimşek’s original compositions dominate Dost 2’s tracklist, with the lyrics on four of the tracks penned by Derya Yıldırım in collaboration with Berlin-based writer Duygu Ağal. Guitar and organ curl around each other on opener “Gümüş”, which unfolds and swells as Yıldırım’s powerful voice takes off and soars above the steady instrumental background before giving way to an evocative guitar solo. “Meraklı Gönül” deals with memory and loss, feelings that permeate Yıldırım’s vocals as they float on a mellow bed of delicate percussions, phased guitars, and winding synth lines; “Mola” is an understated but incredibly powerful bağlama composition, where moments of silence are able to stir up emotions as intensely as the music itself; seconds later the tension is broken by the funky bassline on the irresistibly catchy “Bal”.\u003cbr\u003e\u003cbr\u003eThe sorrowful atmosphere on “Odam Kireç Tutmuyor” mirrors the heartbreak of the song’s two protagonists, who eventually die of a broken heart after being separated. 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The Abranis story begins in the mid-sixties, when Shamy El Baz and Karim Abdenou crossed paths in one of Paris' bohemian neighborhoods. Both were Kabyle, the Berber people from Algeria’s northern regions, both loved rock music, and both were passionate about fostering a modern Algerian sound, as inspired by Kabyle rhythms and melodies as it was by western rock. The two musicians founded Les Abranis in 1967. Together they experimented by mixing Kabyle vocals and melodies with garage and psych-rock but as the '70s progressed they increasingly moved away from the garage and psychedelia of their early days and began to interpret their Kabyle repertoire in more open and creative ways melting prog rock, jazz and some early electronic influences. 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