The Offline - Les cigales

Prolific Hamburg-based composer The Offline returns, inviting listeners to join the cast of his ever-growing Mediterranean Cinematic Universe with new single ‘Fumée’ - the single is the first taster of his forthcoming ‘Les Cigales’ EP, which builds upon the library-nodding, instrumental hip-hop blend explored on his acclaimed 2023 debut ‘La couleur de la mer’.

‘Fumée’ introduces part one of the narrative of ‘Les Cigales’, an EP that reflects upon life on the Mediterranean during the summer months. Balanced around alternating light and dark sections, and a captivating Rhodes theme that sits in a different time signature to the rolling drum groove, this purposeful instrumental begins to tell the story of two people on the search for each other, situating the listener on the streets of Marseilles. Felix shares:

"As some may know, Hamburg is not known for the best weather, especially the winters, with little daylight, cold winds and rain lashing down on your face. Maybe that's why this longing for light, warmth and the sea is always a big part of my music - by composing the songs, I can be in these places."

‘Les Cigales’ takes its’ sonic cues from the structure of film and TV music from the 1960s and 70s, channelling the influence of film composers such as Francois de Roubaix and David Axelrod, whilst also sitting somewhere between the washed-out, sun-soaked sonics of Surprise Chef and Robohands. As the EP unwinds, its narrative reflects a love story, full of longing, melancholy and drama, connecting with the story of Gyptis and Protis – the founding myth of Marseilles – whose love broke convention and welcomed the arrival of foreign people on French soil.

The project follows The Offline’s debut album ‘La couleur de la mer’, released in November 2023, which saw him create his own soundtrack to a film yet to be made. Inducing images of manorial, fog- swept villas at the seas edge, silhouetted sailing boats and cigar-chomping villains attempting to thwart the mission of an imaginary hero, the record is a masterfully composed sonic journey. ‘Les Cigales’ sees him continue to build upon a distinctive sound that moves from dramatic cues to fragile romanticism, incorporating psychedelic spaciness, retro soul and hip-hop sensibilities informed by his extensive record collection.

The Offline came to life when composer and photographer Felix Müller travelled the Atlantic coastline in the south of France with his analogue camera, capturing beach life on film. After returning to his native Hamburg, he started writing songs as the sonic counterpart to the analogue visuals. Debut EP ‘En Clair-Obscur’ captured the essence of his journey, and the feeling of a cool summer soundtrack. His music has seen support from Huey Morgan and Deb Grant (BBCR6), plus Somewhere Soul, Rinse FM, Radio FIP, Jazz FM and more, amassing millions of streams and selling hundreds of records. 

Tracklist:
1. Générique
2. Les amis
3. Un long été chaud
4. Parmi les pins
5. Fumée
6. Les cigales
7. Le long de la rive
8. Chambre d´amour

Fred P - Above The City

Tracklist:
1. Modern Metaphors
2. Another World
3. Visions Of Wonders
4. More To Be Done
5. A Place For Us
6. Repetitive Lush
7. Love Trust
8. Journey On
9. Brother's Searching
10. Make It Last Forever

VA - Super Disco Pirata: De Tepito Para El Mundo 1965​-​1980 (Analog Africa No​.​39)

I am facing a dilemma: how does the founder of an independent music label justify creating a project highlighting, even praising piracy, the very plague that has brought many labels to the brink of bankruptcy?

I first became aware of “pirata” LPs in 2020 while hunting for records in Mexico City: their weird-looking DIY covers – and the edited, tweaked, EQ-manipulated and pitched-down music they contained – got me hooked. There was no denying it: the more I became immersed in the world of these illicit productions the more I became intrigued; and before long it became crystal clear that I would one day release my own compilation compiled out of pirated compilations. But beyond my own fascination with that parallel world, it was undeniable that the “pirata” movement had played a significant role in shaping the musical scene of Mexico. So how did it all start?

During the 1980s, a group of music dealers and record collectors from Mexico City joined forces to create a series of illegally manufactured vinyl records containing rare and highly-sought hits from Perú, Ecuador, Colombia and beyond. At the time, Mexico City’s dance-party scene was ruled by the sonideros, a highly developed network of mobile soundsystem operators. The popularity of the sonideros led to a growing demand for tropical music, as their fan base became increasingly hungry for the “exclusive” hits associated with particular sonidos. Additionally record dealers were getting frustrated with the music industry constantly “feeding” them streams of mediocre records and from this frustration came the idea of compiling and manufacturing LPs on which every song was a hit: “no matter where the needle dropped, it had to be a song capable of igniting the party.” 

These bootleg compilations – known as “pirata” – were pressed during graveyard shift on recycled vinyl in editions of no more than 500; they were cheaply produced and sold just as cheaply to people who otherwise wouldn’t have been able to afford them. They were played extensively in every corner of Mexico’s heavily-populated barrios where, in addition to educating the ears of the youngsters, they also promoted some of the best tropical music recorded in Latin America.

According to various first-hand accounts these “piratas” began to appear mysteriously in the early 1980s at various market stalls in Tepito, Mexico City’s infamous barrio, a place where one can attend daytime Salsa parties, get any drug imaginable, buy any kind of weapon and, of course, purchase pirated music in all formats. It seems that the manufacturers of pirata LPs worked on the principle that “what happens in Tepito stays in Tepito” and getting information about their bootlegging operations was difficult, not to mention dangerous. My partner in crime – Carlos “Tropicaza” Icaza, who had agreed to write the notes to this project – was quick to point out that: “We won’t be able to disclose any names. We’ll have to be careful how we tell the story!”

At first the pirata LPs came in a simple generic covers, had made-up company names such as Discos Music-Hall, Carioca, Garden, or Miami, and contained popular street-dance songs in nearly every tropical genre. As these unlikely compilations became successful and new ones started being produced at a rate of one per month, the pirates began designing and printing interesting looking covers which often featured the logos of some of the most popular sonidos such as Rolas, Pancho, La Changa, Arco-Iris, Casablanca. The pioneer of this design style was Jaime Ruelas, who had started out as a DJ for the legendary mobile discoteque Polymarchs before using his illustration skills to design their flyers, posters and logos. Taking direct inspiration from science fiction movies and heavy metal covers, the graphics he created became a key element of sonidero culture.

The anonymous manufacturers may not have realised it at the time but, in daring to create pirata LPs, they were helping to consolidate and expand a love for tropical music and dance among the population of Mexico City and beyond. The records themselves are a key element of the sonidero culture that was recently declared as part of the Intangible Cultural Heritage of Mexico City for the impact that it has had on multiple generations who identified with the communal experience of the street party, and for whom music and dance became an essential part of daily life.

This double-LP contains 23 tropical floor-fillers sourced from the finest and strangest pirata LPs produced during the golden age of Mexico City’s mobile soundsystems. It also includes a large booklet containing extensive notes and photos and It is dedicated to all the sonideros for their ground-breaking roles as ambassadors of tropical music within mexican society. 

Tracklist:
1. Lucho Burbano - Afro Oriental
2. Cumbia Machuca - Cumbia De Los Bee Gees
3. Lucho Gavilanes - El Tequilazo/Canelazo
4. Carlos Haayen Y Su Piano Candeloso - Palenque
5. Enrique Lynch - La Quinta Sinfonia de Beethoven
6. Los Pakines - Venus
7. La Protesta de Colombia - Lamento de Cumbia
8. Sonora Tropical - Ritmo de Cumbia
9. Eduardo Zurita - La 3A De Los Toquecitos
10. Leon Cardona y Los Internacionales - La Noche
11. El Combo Cienaguero - El Compae Nuñez
12. Gabriel Meza Y Su Organo Chévere - La Luna Y El Pescador
13. Los Destellos - Tanto Tienes, Tanto Vales
14. Los Diablos Rojos - A Bailar El Son Satanico
15. Anibal Angel - Cumbia Tropical
16. Camaco y Cano - Hagan Rueda
17. Orquesta "Rafalo" - Eso Es Con Vela
18. Alex Acosta Y Su Orquesta - Cumbia Del Amor
19. Ramon Ropain - Malinga
20. Afrosound - Platico Chino
21. Los Destellos - La China María
22. Los Orientales de Paramonga - Te Gusta Como Azucar
23. Francisco Zapata - Cumbia Candelosa

Fat Freddy's Drop - SLO MO

Fat Freddy’s Drop hit the ground running with new studio album Slo Mo, a bass-heavy blast of redemption and resolution. Described by Fitchie as 'afro rhythmic soul music, an exploration of Black music from Polynesia’, this heady mix creates the undefinable Freddy’s sound. Renowned worldwide for euphoric live shows, the Aotearoa band stepped inside their BAYS studio in Wellington, sunup to sundown, to craft a sixth studio album. Slo Mo is the strongest studio representation yet of a Freddy’s live show’, says Chopper Reeds. 'Usually we take the stage to the studio and this time, we're excited about taking our studio creation on to the stage.'

Emerging with nine tunes, Slo Mo will drop first on double vinyl, opening the door for the full length album to be experienced as a body of work curated as Freddys intended. Chopper Reeds continues, 'Towards the latter part of the record, Joe Dukie’s vocal presence becomes quite spectral allowing listeners to inject themselves into the music. The evocative cover art is by Dan Tippett, Aotearoa New Zealand Artist, who describes the image as ‘an ancient ngahere forest in a Jurassic Aotearoa dreamtime.’

Tracklist:
1. Avengers
2. SLO MO
3. Next Stop
4. Stand Straight
5. Oldemos
6. Out To Sea
7. Roland
8. Getting Late
9. I Don't Want To See You

Lack of Afro - From The Volt, One

Released at the start of November, From The Volt, One features 11 tracks that have slipped through the net over the last 18 years of Lack of Afro’s (AKA Adam Gibbons) illustrious musical career.

“In 18 years of releasing music and being an artist, I realised that there were a fair few tracks that had kind of slipped through the net. I guess this is inevitable given how many albums and projects I've been a part of over the years. Either the tracks in question haven't been released, or they didn't get the proper release that they deserved at the time.”

One of those tracks is ‘Summer Nights’, a blissed-out instrumental with trademark, cinematic swirls and tight grooves that wouldn’t sound out of place on a beach in Ibiza with the sun setting overhead. Originally written around the time of his critically acclaimed debut album ‘Press On’ in 2007, the track came about shortly after Lack of Afro (aka Adam Gibbons) had burst onto the scene with the ferocious cut & paste funk of ‘Wait A Minute’, his debut single that was one of the hottest 12” singles on the UK funk scene at the time.

Since then, he has gone onto release eight albums as Lack of Afro, expanding on his early influences to incorporate jazz, hip hop, rock, disco and beyond, as well collaborating with musicians like Joss Stone, Wax & Herbal T, Mica Miller, DJ Yoda, Too Many T’s and many more.

A repeat collaborator Elliott Cole appears on this collection on the track ‘Lost in a Friend’s Eye’. Originally released in 2015, the track went on to feature in the BBC Drama Doctor Foster, but has been unavailable online since then.

“With a beautiful, almost wistful vocal by Elliott Cole (aka Leigh Coleman), it also features what I believe is one of George Cooper’s best Hammond solos on a Lack of Afro track. The fact that the Hammond L100 in question blew up shortly after this track was recorded is probably just as well as I don’t think it could’ve been bettered!”

Another previously unreleased track on this collection is Lack of Afro’s gorgeous, instrumental take on The Kinks’ classic, ‘Waterloo Sunset’. A rare cover by Lack of Afro, the track was recorded in 2015 for an exhibition for the artist Alex Echo.

“The Kinks are one of my favourite ever bands, with Ray Davies right up there in my top 10 songwriters of all time. So many classic songs came from him, and none more so than this. Instantly recognisable, it was a real challenge to come up with something listenable that did justice to the genius of the original.”

Last year saw Lack of Afro return triumphantly with his eighth album ‘Square One’, with the lead single, ‘Loving Arms’, finding it’s place on the BBC Radio 6 Music playlist. Off the back of that success, Lack of Afro is set to return to the stage, with his first UK tour in five years kicking off this November. 

Tracklist:
1. The Outsider, Pt. 2
2. Lost in a Friend's Eye
3. Summer Nights
4. The Love You Gave
5. Waterloo Sunset
6. On My Way
7. Fugazi
8. Clean Living Under Difficult Circumstances
9. Broken Samba
10. Dance of the Scorpions
11. Passive Aggressive

Fulton Street - Hard Truths

In a lot of ways, ‘Hard Truths’ was the album that almost never was. Production started at the beginning of 2020 but before it could gain momentum, Melbourne was thrown into one of the world’s longest lockdowns, leaving the band to adapt and record horns and strings remotely in Tasmania. Post lockdowns, with the local music scene in ruins, the band slowly rebuilt and finally felt ready to revisit the record.

The turmoil of the world seemed to reflect the inner turmoil of songwriter and front woman Shannen Wick who used the record as a way to process “heartbreak and the declining state of the world” and take a wholly “unfiltered approach” to songwriting – an approach evident from the first note of this dynamic and spectacularly honest album.

Listening to ‘Hard Truths’ Fulton Street fans can expect to find grooving bass and guitar riffs, warm melodic organ, bright horn arrangements, soaring strings and – of course – powerhouse vocal performances.

The tone of the record is immediately set with the opening track ‘A Woman Scorned’, an instrumental that encapsulates the scoring of iconic Blaxploitation films. From there ‘Hard Truths’ explores the often misunderstood lens of female rage, with its premier single ‘Disappointment’ where Wick growls, “If I wanted a disappointment, I would’ve stayed with my last man.”

‘Hard Truths’ isn’t one note, however, with songs like ‘Weight of the World’ and ‘Mama’s Eyes’ that embody Fulton Street’s signature storytelling, as the record explores themes of family, migration and finding home. The album manages to be both musically playful and achingly real. 

Tracklist:
1. A Woman Scorned
2. Disappointment
3. Another Girl's Man
4. Sister Strut
5. Kill 'em with Kindness
6. Weight of the World
7. Square Eyes
8. Heartbreaker
9. Money
10. Doubts
11. Mama's Eyes

Future Bubblers - Future Bubblers 8.0

Brownswood Recordings announces “Future Bubblers 8.0”, the eighth edition of their annual compilation, released 15th November.

A part of Gilles Peterson’s expanded network, Future Bubblers is backed by Arts Council England, which continues to focus on uncovering unsigned talent and growing the audience for innovative, experimental music. The professional recordings, manufacturing and physical release of “Future Bubblers 8.0” is made possible with additional support from PRS Foundation, as Talent Development Partners. Unlike other music initiatives, this compilation acts as a launchpad for emerging artists, utilizing a cooperative model that shares revenue directly with the artist, helping them generate a sustainable income. Previous Future Bubblers artists include Yazmin Lacey KinKai, Lynda Dawn, MC Snowy, Forest Law, Victoria Jane, NeOne The Wonderer and Kayla Painter, , and more.

Across six tracks, "Future Bubblers 8.0" eclectically fuses the worlds of R&B, soul, funk, rap, and electronic music in their many forms. The lead single, "Damn," comes from Leicester-based psychedelic Space-Soul band Shadeemus, released 15th October. Bristolian vocalist and producer t l k creates ethereal soundscapes on her track “Legs” , while O.K Asanda, who made Manchester his home, has crafted a unique Alt R&B and soul sound. Songstress JOIISOL blends R&B, Neo-Soul, and Electronic-Jazz with vintage samples.

Tracklist:
1. Good Intentions - Joiisol
2. Damn - Shadeemus
3. Easy Loving - O.K Asanda
4. Legs - T L K
5. Like Glue - Shadeemus, Joiisol, O.K Asanda, Clodagh
6. Primrose Hill - Joiisol, Shadeemus, O.K Asanda

Greg Foat - The Rituals of Infinity

London-based keyboardist and composer Greg Foat is back with his new album, 'The Rituals of Infinity'. Greg's first memory with the piano goes all the way back to his Aunt's house at aged 3 - where he fell off the piano stool. Since then, his relationship with the piano has evolved into a fulfilling, and successful career. He began taking an interest in composing at the age of 11, and truly ignited his love for Jazz after attending a workshop with Jeff Clyne, Olaf Vas, Trevor Tomkins and Nick Weldon at the age of 15. He then studied jazz at Middlesex University, followed by 6 months in Sweden on an Erasmus grant which lead to his first professional studio session there at 21. Greg has worked as a professional musician ever since, and has moulded a wonderfully multifaceted career within the Jazz music genre. Greg is planning a debut performance of 'The Rituals of Infinity' at Worthy Earth Festival in late September, in Hampshire.

'The Rituals of Infinity' album is inspired by many things. Some titles are named after iconic science fiction books such as The Rituals Of Infinity, A Private Cosmos, The Dark Labyrinth and The World of the Red Sun. Minerva's Owl, on the other hand, is about the Ancient Greek Legend. "The owl of Minerva takes flight only at dusk." so wrote G. W. F. Hegel, the nineteenth century's major philosopher of history. By that, he meant that any given phase of history can be understood only in retrospect — after it's over. A beautifully fitting closing of the album. The album features the legendary Art Themen on Soprano and Tenor Saxophones, and Trevor Walker on Trumpet and Flugel Horn in a fine supportive role harmonising with Katherine Farnden on Cor Anglais. Natcyet Wakili has such a fluid approach to the drums which really makes the album special, alongside Jasper Osbourne on Bass Guitar. Shawn Lee also stopped by the studio with his horror movie classic waterphone - adding some eery atmospheric finishing touches to the album. 

Tracklist:
1. The Ticking Clock
2. A Private Cosmos
3. Sun Hat
4. The World of the Red Sun
5. The Rituals of Infinity
6. The Dark Labyrinth
7. Minerva's Owl

Mulatu Astatke - Tension

Ethio-jazz pioneer Mulatu Astatke joins the Hoodna Orchestra, Tel Aviv’s number one Afro funk collective, melding his enchanting vibraphone playing with their brass heavy force across seven original compositions that play tribute to the classic Mulatu sound while forging fresh paths. Produced by and featuring Dap-King Neal Sugarman, the results are gritty, yet majestic, soulful and uplifting.

Mulatu Astatke requires little introduction at this point. Born in Jimma, Ethiopia, Mulatu went on to live and study in London, Boston and New York. Initially drawn to and trained in jazz and Latin music, he developed the sound he called “Ethio-jazz” over a series of seminal albums combining jazz, Latin, funk and soul, with traditional Ethiopian scales and rhythms.

Long a cornerstone of the Ethiopian recording industry, his albums and even guest appearances were long sought after by record collectors and music enthusiasts around the globe. However the release of an acclaimed ‘Éthiopiques’ compilation dedicated to his instrumental recordings in 1998, followed by the 2005 release of Jim Jarmush’s acclaimed ‘Broken Flowers’ film, which heavily featured Astatke’s irresistible music, introduced him to a much wider international audience. Mulatu would go on to be sampled by the likes of Nas, Kanye West, Cut Chemist and Madlib, whilst touring to large audiences across the globe, and collaborating with London-based psych jazz collective, the Heliocentrics.

Formed in 2012 on the south side of Tel Aviv, the 12 member Hoodna Orchestra is a collective of musicians and composers who initially bonded over a shared love of Afrobeat. They have gone on to incorporate psychedelic rock, hard funk and soul, jazz, and East African music into their sought after releases, winning praise and airplay from the likes of Iggy Pop and Huey Morgan on BBC Radio 6 Music. The collective draws together a huge array of musical talents such as guitarist Ilan Smilan and organist Eitan Drabkin of Sababa 5 fame, Shalosh trio drummer Matan Assayag, and percussionist Rani Birenbaum of The Faithful Brothers, many of whom also contribute compositions to the orchestra, ensuring its collaborative environment.

Over time, members of the orchestra came to find they shared a growing interest in Ethiopian music, particularly the Ethio-jazz of Mulatu Astatke. Since releasing a recording with Ethiopian singer Tesfaye Negatu, Hoodna Orchestra had been looking to find ways to collaborate with Astatke himself and in early 2023 the opportunity arose to invite Astatke to Tel Aviv, record an album and perform it live for their home audience. Stars aligned as Neal Sugarman, multi-instrumentalist member of the Dap-Kings and co-founder of Daptone Records, joined and produced the session with Smilan.

The album commences with title track “Tension”, leading Mulatu’s signature sound in a new, rhythmically intense direction, hence the name, providing fresh creative ground for the collaborators. Astatke’s vibraphone sets the scene, before drummer Matan Assayag attacks the beat and Nadav Bracha’s marching bassline and Rani’s percussion propel the track forward, and Hoodna’s brass section delivers a classic Ethio motif. Mulatu’s enchanting vibraphone solo is followed by a blistering tenor sax solo by Eylon Tushiner. This is Ethio-jazz on turbochargers.

Recorded towards the end of their session, “Major” provides a whole new dimension, joyously and effortlessly swinging out of the speakers after “Tension”. You can sense how comfortable the band feels together at this point. The track features a superb organ solo by Drabkin. The Smilan composed “Hatula” embodies the sound of a cat prowling outside on a hot summer’s night with poise and finesse, before building into a great crescendo that belies the feline creature’s unpredictable behavior and wilder instincts. “Yashan” on the other hand is classic smoke-filled- lounge Ethio-jazz with an undercurrent of tension you can cut with a knife, with the Elad Gellert baritone sax solo lulling you into a false sense of security.

The Latin-jazz tinged grooves of “Delilah” play homage to the early roots of Mulatu’s sound. Leading the song’s key motif, Tushiner’s seductive flute is well balanced by Smilan’s guitar, proceeding beautifully into an enchanting solo by Astatke himself. Tushiner takes an extended turn himself, soloing like Hungarian guitar legend Gábor Szabó, if only he’d moved to Cairo instead of San Francisco. Joined by Sugarman on saxophones, the brass section plays a subtle but important role on his occasion, gently accompanying in the background.

The album closes fittingly with “Dung Gate”. A Birenbaum composition, the track features slow, heavy, melodic motif led by the brass section, counterbalanced by a tidal wave of percussion and hand-clapping. One can imagine the band slowly marching out of the venue through the crowd at the end of their show, the audience clapping in time with the orchestra’s brass and percussion, recalling another legend, the late great Sun Ra.

On one hand, ‘Tension’ is clearly a deeply personal tribute by the Hoodna Orchestra to iconic Mulatu Astatke, but at the same time the recordings emit a remarkable amount of chemistry, and together they have created an essential addition to Mulatu’s rich discography that charts new directions in his Ethio-jazz trajectory and provides the Hoodna Orchestra with their strongest album to date. 

Tracklist:
1. Tension
2. Major
3. Hatula
4. Yashan
5. Delilah
6. Dung Gate