LP

First ever official reissue of this mythical Nigerian-American Afro boogie album !It’s grail time. Kalita are honoured to officially release for the first time since 1983 Marcy Luarks & Classic Touch's mythical American-Nigerian Afro boogie masterpiece 'Electric Murder', accompanied by extensive liner notes based on interviews with Marcy's family and producer Daniel Irabor. The product of the then husband and wife team of Marcy and Dan, 'Electric Murder' brought together both the former's American and the latter's Nigerian roots; recorded in London with UK-based session musicians, this mix of heritage and styles resulted in an Afro disco album unlike any other.With original copies turning up for sale roughly once every few years, and with an eye-watering four-figure price tag to match, Kalita for this year's Record Store Day saves you the never-ending search for this true holy grail.Released on black vinyl, with printed insert detailing Marcy's life and musical career.

Le nouvel album de l'avant-gardiste, percussionniste, chanteur, auteur, compositeur et trompettiste. Edmony Krater. Il est une référence de la musique antillaise. Discret et néanmoins actif c’est en 2015 qu’il s’est à nouveau retrouvé dans la lumière, depuis la réédition de Ti Jan Pou Velo, son album enregistré en 1988 avec son groupe Zepiss. Un disque devenu rare et possédé seulement par quelques collectionneurs avisés. Après An Ka Sonjé (2018), il revient avec J’ai Traversé La Mer.

"When I'm working on a problem, I never think about beauty. I think only how to solve the problem. But when I have finished, if the solution is not beautiful, I know it is wrong.” Richard Buckminster FullerThe music on this compilation was, for the most part, originally released privately in Geneva as a box set containing five LPs by The Mega Wave Orchestra and five prints by the artist Richard Reimann. The Mega Wave Orchestra, the brain-child of musician, mathematician and composer Christian Oestreicher, was conceived as an multi-media electronic music big-band. It was comprised of seven keyboard players Christine Schaller, Vincent Barras, Jacques Demierre, Olivier Rogg, Rainer Boesch, Roger Baudet, and Benoit Corboz, with Oestreicher as arranger and producer, assisted by Yves Melan, and video specialist Yanick Ebinger.Each of the five LPs was composed or devised by an individual member of the Orchestra acting as band leader, but arranged and mixed by Oestreicher in the Mega Wave Studio.The Orchestra created a new hybrid music. It was a music with roots in the jazz and classical traditions, but one which also drew on the sonic freedom of musique concrete and the kind of total experience offered by psychedelia. The diverse backgrounds and specialisms of each of the band leaders/writers resulted in a wide variety of music across the five discs: from austere drones and granular aural detail to warm oddball fusion and gorgeous but cracked vocal jazz. But it was Oestreicher’s presence, at both the start and end of the process, that provided a sure conceptual framework and a comprehensive sound world. There are useful contemporary comparisons to be made: zoned synth jazz like the Azimuth LP on ECM or Karin Krog’s Freestyle; Larry Heard’s sequencer dreamtime; the Valium minimalism of Pep Llopis or Jun Fukamaki; Dexter Wansel’s shimmering arrangements for Loose Ends, or even the FM sheen meets cold war threat of Donald Fagen’s Night Fly. Here, too, is the sound of music technology about to snowball and define its own aesthetic, unknowingly prefiguring auteurish bedroom producers like Black Dog or The Detroit Escalator Company.The heart of this music’s appeal lies in Oestreicher’s complex intentions and methodologies. He revels in occupying the unsteady ground between analogue and digital, pushing his players to robotic precision while opportunistically grabbing on to the unpredictable results of computer error. He harks back to communal rigour of big band or orchestra structures, while understanding beautifully that the sounds of the future will not be synthesised imitations of existing instruments but something entirely other. He seizes on the value of resituating or recombining the sounds given to him by his bandmates, twisting them out of shape to create vivid new worlds for the listener to occupy. As a mathematician, he approaches the problem of group music making with a seriousness that results in beauty as a matter of course. Lovely crafted tip-on sleeve.Remastered from Master tapes. 500 copies.

France exclusive hand-numbered editionRare private press funk/soul albumFirst vinyl reissue since 1983180g deluxe pressingLimited to 100 copies

Amazing Bossa Nova LP.. Subtle arrangements, pure, honest and beautifully crafted Brazilian music!The list of musicians born or raised in the Tijuca district of Rio de Janeiro is long and illustrious and includes names that have shaped Brazilian music: Tom Jobim, Roberto Carlos, Tim Maia, Milton Nascimento, Jorge Ben or Erasmo Carlos – to mention but a few. We can now add to that list another name: Werther. In 1970, a man by that name recorded an album unique in its personality, its honesty, and its lack of pretense. In a time when Bossa Nova had become a global phenomenon and its main characters were already household names in Brazil, Werther assembled a collection of songs that uncannily – almost naively – remind us of the time when Bossa Nova was just a group of youngsters making music. His songs are about simple things: bohemian life, the sea, love.Despite Werther and his friends being only in their teens, without any previous experience recording music, those working behind the scenes were not equally amateur. Producer Peter Keller had already worked with Aloysio De Oliveira in the quintessential Bossa Nova label Elenco, and was also an initial partner in Roberto Quartin’s cult label Forma. Studio owner Bill Horne was a very loved character in the Rio jazz scene who had regularly taken part in the legendary meetings in Nara Leão’s apartment and befriended some of Brazil’s most respected musicians. Some of these musicians were, for example, Naná Vasconcelos and Edison Machado, who provided small contributions to Werther’s album.It was only in the 1990’s that Werther’s album was rediscovered by a handful of collectors and Brazilian music enthusiasts, who recognized in it a purity that had already vanished from the mainstream Bossa Nova recordings. But due to the haziness around the original release and the relative anonymity of its instigators, many questions surrounding these recordings were left unanswered. Today we are finally able to disclose the full story behind Werther’s short-lived contribution to Brazilian music.

For the first time on LP, Maestro Morricone's full score for Uccidete il vitello grasso e arrostitelo. A 1969 giallo-noir, full of cruel twists, directed by Salvatore Samperi.This almost unknown soundtrack wasn't released at the time and the original master tapes were carefully archived in the vault of legendary C.A.M. label. Conducted by Bruno Nicolai and featuring voices by Edda Dell'Orso.The maestro delivers one his best scores from the late 60's. A psych-baroque journey with typical beat arrangements, crazy organs solos, wah-wah guitars and tense harpsichord phrases. Including the previously unreleased "Shake introspettivo". Remastered from the original master tapes. Limited Edition.