Folk Sale 232 Items

On Bridge Variations, the now Stockholm-based English guitarist Jon Collin changes his guitar for a keyed fiddle. Mostly recorded to tape under different bridges around Stockholm during 2021, partly for the sound but also because of their importance to the geographical make-up of the place, the album is like a modern take on traditional Swedish folk music made by an outsider looking in. The sound is pretty much a continuation of the palette explored on 'Dream Sequence, End Of Summer', Collin's contribution to the Contemporary Homemade Music compilation put out by Discreet Music last year. Slowly moving and drawn-out melodies evolve into immense droning beauty, rich of texture and with the environmental sounds from the sites becoming an integral part of the recording. Mastered by Giuseppe Ielasi and pressed in an edition of 1000 copies. Comes with a 12-page colour-coded booklet of photos of the recording locations.

Joshua Hedley is 'a singing professor of country & western,' he declares on his raucous and witty new album, Neon Blue. It might sound like a punchline, but it's not. An ace fiddle player, a sharp guitarist, and a singer with a granite twang, he's devoted his entire life to the study of this genre. His previous records have showcased his deep knowledge of country musics history, in particular the beery ballads of the 1950s and '60s. Neon Blue, on the other hand, examines a very different, often forsaken era: the early 1990s. Neon Blue asks, What if that fork had never happened? What if country kept on sounding like country?' Hedley finds something exciting in that old hat-act sound, and Neon Blue plays up the excitement of bigger-than-life choruses, the relatable emotions of those sad-eyed ballads, and the inventiveness of the lively production.

Kacey Johansing’s latest album Year Away will be released July 28 via Night Bloom Records.

Once again Johansing called upon some of the finest players of Northeast Los Angeles’ vibrant music community to lend a hand with the record. The 70s R&B-folk of “Watch It Like a Show” features an electric guitar solo from Hand Habits’ Meg Duffy, while album closer “Endless Sound” boasts backing vocals from electronic musician Kaitlyn Aurelia Smith and swooping Indian-inspired violins from Amir Yaghmai (haim, The Voidz). The record shines brightly thanks to an ace mix from veteran producer Rob Schnapf (Beck, Elliott Smith, Cat Power), woodwinds from Logan Hone (John Carroll Kirby, Eddie Chacon), and a featured rhythm section of drummer Josh Adams (Jenny Lewis, Bedouine) and bassist Todd Dahlhoff (Feist, Devendra Banhart). Recorded across multiple studios including LA’s famed Sunset Sound, the album remains steadfastly buoyed by the adept engineering of Tyler Karmen (mgmt, Alvvays).

In March of 2020, after learning that a dear friend’s life was coming to an end, Johansing sat down and in one sitting wrote the song “Daffodils”. An elegiac tribute to someone facing death with grace and curiosity, the lyrics confront Johansing’s own mortality by observing the brief lifespan of a Hlower. Only a week later when the world came to an abrupt standstill, she soon found herself processing this recent loss while trying to make sense of a new global reality. Across the ensuing months, Johansing found herself increasingly untethered by a world of isolation and political upheaval.

Every person we meet, every moment we live through, all the love we feel, and the losses we endure, add another layer to the intricate pattern of our lives. Like multicolored threads, these layers twist together to form a complex, vibrant tapestry — a reflection of our life journey until this point. On his new album Layers, Khalab acknowledges and celebrates the encounters that have shaped his ever-evolving musical vision. The record, out on August 25th with his own Hyperjazz Records, represents the culmination of a creative journey that began with his Eunoto EP (Black Acre Records, 2015), evolved with the Afro-Futuristic soundscapes of 2018’s highly acclaimed album Black Noise 2084 (On The Corner Records/!K7), and has since developed further through a series of experiences and deep musical collaborations. Layers summons all the alchemy of Khalab’s live performances, and embodies the transcendental power of music making as a collective art form. Over the past five years, Khalab has shared the stage at Italian and International festivals with many exceptional musicians, an experience which has sharpened the musicality of his compositions and enhanced the depth and complexity of his sound. “Since the release of Black Noise 2084 I’ve increasingly developed the stage and band dynamic, focusing on arranging with the musicians in mind, and this album was almost entirely conceived together with musicians I’ve collaborated with” says Khalab. In a testament to the label’s close-knit and highly collaborative nature, Khalab's live band includes a cadre of musicians from the Hyperjazz family, including David Paulis and Enrico Truzzi of Phresoul, as well Pietro Santangelo, Fabio Sasso, and longstanding creative-partner Nicola Guida. The album’s nine tracks feature an impressive lineup of collaborators old and new, including UK drummer and producer Emanative, Burkinabe singer, guitarist, and m’bira player Gabin Dabiré (passed away a few weeks ago), Italian producer Clap! Clap!, multi-wind instrumentalist Tamar Osborn, drummer and producer Tommaso Cappellato, British-Bahraini trumpeter Yazz Ahmed, Bristol’s vocalist and producer Grove, multi-instrumentalist Tenderlonious, Italian jazz singer Alessia Obino and British-born Nigerian spoken-word artist Joshua Idehen. Layers still revolves around the key components of Khalab’s sound — dark and trancey electronics and his research into Black music and all its evolutions — but with a bigger emphasis on harmonic arrangements. Across the album, Khalab’s productions twist and pulsate into mesmerizing motifs, as the interplay between different instruments coalesce into focused melodies and rich, complex textures. Khalab and his collaborators masterfully blend gloomy and radiant tones, eliciting feelings of both doom and hope. The album will be preceded by three lead singles: “Layers” feat. Joshua idehen, “Tunnel Of Jealousy” feat. Lady Blue Eyes, and “Female Side” feat. Tommaso Cappellato.

For Khalab, Layers represents the end point of a journey that began with the synthesis of ancestral rhythms and electronic experimentation on Black Noise 2084, and has taken him on a meandering route through a Mauritanian refugee camp (M’berra, Real World Recordings, 2021), and deep into the catalogs of legendary Italian labels Soul Note and Black Saint (for the Hyperituals compilations, released on his own Hyperjazz label). In Khalab’s own words: “For me this feels like coming full circle, because everything will be more experimental going forward”. Credits All tracks written & arranged by Khalab Produced by Khalab & DJ Knuf With the vital contribution of these amazing musicians: A1. Yazz Ahmed (flugelhorn, trumpet), Alessia Obino (voice), Nicola Guida (synths), Fabio Sasso (drums) A2. Emanative (drums), Tamar Osborn (baritone saxophone), Grove (lyrics, voice) A3. Lady Blue Eyes (voice) A4. Cristiano Crisci (synths), Pietro Santangelo (tenor saxophone) A5. Joshua Idehen (lyrics, voice), Cristiano Crisci (additional synths) B1. Tommaso Cappellato (synths), Enrico Truzzi (drums), David Paulis (electric bass), Cristiano Crisci (additional synths) B2. Gabin Dabiré (voice, m’bira) B3. Tenderlonious (flute) B4. Magnus PI (percussion), Alessia Obino (voice), Pietro Santangelo (tenor saxophone), Enrico Truzzi (drums) Mix by DJ Knuf at Studio 33, Rome Remix by Khalab at Studio 33, Rome Megamix by Satori Stereo Saiyan Mastered by Frank Merritt at The Carvery, London Visual project design by Marco Klefisch

The illustrious, London-based duo Kit Sebastian, aka Kit Martin and Merve Erdem, return with a limited edition 7” single. It features ’L’addio’, a breakbeat driven, sultry ballad, and ‘Hayat’, a hazy, psychedelic scorcher that delves into the band’s Turkish and Azerbaijan influences.

‘L’addio’ saw the band perfecting their production and orchestration, with strings, horns and double bass, and an Italian synth found in a French dump. The music was greatly influenced by Italian soundtracks and Italian female singers, such as Mina or Rita Pavone. The track announces itself with a break that is guaranteed to get samplers twitching. The tone of the melody and lyrics is heartfelt and aching. It has a beautiful, intimate sadness like the closing scenes to a love affair, and it exquisitely rides over the slow, psych-funk-dramatic backing track. The lyrics are inspired by a flat opposite Merve's window that's occupied by drug addicts, with many guests coming in and out every night. Merve elaborated “Being both neighbours and strangers, and with the boredom of a post-tour everyday domestic life and a pinch of urban voyeurism, it was hard not to wonder what was happening in that flat. The words imagine an addict before her/his golden shot as if it's a love relationship between them that comes to an end.”

Having spent much of 2022 touring and writing, ‘Hayat’ was the first original composition the band recorded since their October 2021 album, ‘Melodi’. Here we see them weaving a psychedelic tapestry of Mugham melodies, organ-driven grooves, and jazz-pop harmonies in classic Kit Sebastian fashion. Recorded to Fostex 1/4” tape, the essence of the production is perfectly balanced between being brand new and retro, which is a feat very hard to pull off.

‘Hayat’ is sung in Turkish and the title translates as ‘Life’ in English. The song examines our desire to find one's place in the world and the provisionality of existence. Merve's searching lyrics ask “Where are you? Where is the universe?”. Her vocal delivery perfectly reflects the lyrical focus, its texture is probing and ethereal, almost as if sung from looking above us.

Originally released by Wounded Wolf Press as a limited release (only 100 cassettes were made) back in 2016, "Loopworks" compiles Turkish visual and sound artist Koray Kantarcioglu's (Ankara, 1982) loop based work composed of samples taken from Turkish records released in 60's and 70's as source material. "Loopworks"
impacts almost instantly mainly because it shows some familiarity with the recent work of Leyland Kirby as The Caretaker, particularly with the "haunted ballroom" effect. Koray explores the usage and the dynamic of these sounds as ambient music for different scenarios as well as the importance of a newfound life with the raw
material he used to create these songs. The source material appears as enigmatic as
these new sounds and activate a sense of discovery and constant wonder throughout
"Loopworks". With the vinyl release of "Loopworks" we continue to manifest the
importance of showing how technology and geography create different and original
approaches to the standard western interpretation of field recordings and sound
manipulation. Koray Kantarcioglu's work here is a strong manifestation of that and
how "haunted music" can express a myriad of feelings and sensations. "Loopworks"
has a tremendous vision of the metamorphosis that's been occurring in ambient music
during the last decade. Sometimes it's dreamy and calm as aquarium music is
("500606" or "22 47 91 Take 1"); surprising and infinite as "263 Loop", one of the few
tracks with a voice, in this case a mysterious and transcendental one; or part of a John
Carpenter & David Lynch film yet to be made ("Organ Extract KP 001"). A fantastic
voyage, from earth to space, through time or simply as the most beautiful and peaceful
dive into the ocean. Old music transformed into something new, unique. That's
special.

Kouyaté without Neerman is Lansiné Kouyaté. A Parisian griot, a balafon virtuoso from the region of Kangaba in Mali, a child born among musicians, an early musical prodigy who learned the ropes with the National Orchestra of Mali before playing with the stars of world music (Salif Keita, Mory Kanté, Omar Sosa, Cheick Tidiane Seck.). Neerman without Kouyaté is David Neerman. A French musician who expanded on his training (classical percussion and the piano) by choosing an instrument that is both keyboard and percussion, the vibraphone, who meandered through various eclectic projects (jazz, world, electro, noise, with Youn Sun Nah, Anthony Joseph, Alice Lewis, Krystle Warren.), as long as they smelled of adventure. With Kangaba, their first album (recorded with a rythm section), released in the summer of 2008 they created a glorious future for themselves. Well received by critics, the record gave the opportunity to the duet to tour alot and as such, to strengthen their performance, provide more substance to their music and discover new energies. Skyscrapers & Deities, their second album recorded last fall in an analog studio in the Parisian suburbs, is the result of this evolution. Lansiné still plays like he's stirring up tropical rains on water lilies and David has still plugged (or even more) his vibraphone on bizarre pedal effects (distortions, wah-wah). The duo is backed up by a new rhythm section, that accompanied them on tour : Antoine Simoni on the double bass and David Aknin on the drums, two musicians open to the rythms of rock and hip-hop. The name of the album, Skyscrapers and Deities comes from the spoken-word lyrics of special guest and only voice on the album Anthony Joseph on the track 'Haiti'. The other guest on the album is the legendary kora player Ballaké Sissoko, long time friend of Lansiné, since the days of the National Orchestra of Mali. Skyscapers inspire modernity, altitude and a panoramic point of view. Deities inspire ancestral magic, spirits, be they from the forest or the clouds. The album floats in between all these things, between the horizon and vertigo, technology and spiritualism.

Newly Expanded Deluxe Double LP Edition! Includes the original 1972 album, plus all of Larry Mark's acoustic demos and tracks from his unreleased 1970 LHI LP for the first time on vinyl Previously unreleased session outtake of “Cold Hard Times” plus demos of obscure Hazlewood compositions “Drums,” “The Start,” “Susie,” “Miracle on 19th Street,” and “Peppermint Morning” 30 total tracks Remastered by GRAMMY®nominated mastering engineer John Baldwin Liner notes by GRAMMY®nominated reissue producer Hunter Lea including interviews with Larry Marks, Joe Cannon, Torbjörn Axelman & Suzi Jane Hokom Lee Hazlewood comic strip, the story of 13 told through original artwork by Jess Rotter Double LP housed in a gatefold jacket “Pimps… whores… pushers… dopers… gangsters… and bottom of the human chain shitheels. Now you’re probably thinking I’m writing about major record companies and their unscrupulous executives… and lawyers. You could be right… but this time… You’re Wrong! I’m describing the characters in my album ‘13’ …Some I knew… some I invented … some are true… some are false… some I liked… some I didn’t. But they all had a story to tell and I told it…none of ‘em seem to care… and I don’t either… have fun…" Lee Hazlewood



“He (Lee) took my voice off the album and put his voice on the album. Now don’t forget these were in my keys, it was my charts, it was my everything. Lee Hazlewood was not even remotely going to be considered as an artist for this album and that’s the way he wanted it.” Larry Marks



The album 13 was never supposed to be a Lee Hazlewood album. It is perhaps the strangest record in one of the most varied discographies in music. The Bombastic brass heavy funk, deep blues and soul paired with Hazlewood’s subterranean baritone would be best enjoyed with a tall Chivas in an offstrip seedy Vegas lounge. By 1972 Lee Hazlewood had settled in his new homeland of Sweden. His days were spent carousing, making movies with Torbjӧrn Axelman and releasing albums. To keep up his prolific recorded output, Lee began to mine the recently defunct LHI Records archives for material. One such gem, was an unreleased album by Larry Marks (lhi producer, artist and the voice of the first ScoobyDoo theme). Larry’s concept was to take Hazlewood’s strongest compositions and arrange them in a soul vibe. An album was completed, but with no distribution in America and no funding, Lee had no vehicle to release Larry’s record. The tapes were taken to Sweden, Larry’s voice was wiped and Hazlewood’s was dubbed… 13 was born.

Cuts from essential albums like Cowboy In Sweden Features duets with Suzi Jane Hokom, AnnMargret and Nina Lizell Audio remastered from original tapes Unreleased song “I Just Learned To Run” Indepth liner notes & unseen photographs As a true legend of the great American songbook and a rebellious pioneer who left behind a lengthy trail of echo laden pop masterpieces, Lee Hazlewood’s influence continues to reverberate today. Between 196871, Hazlewood not only released his finest solo work, but produced numerous artists on LHI. From acidfolk and countryrock to poppsych and soul, LHI issued dozens of long forgotten 45s and LPs. This series will include material from LHI (remastered for the first time from the original analog tapes), along with Lee’s output for other labels, rarities, and unreleased gems.

With his handlebar moustache and booming baritone, Lee Hazlewood was one of the defining stars of the late ‘60s. Though he’s perhaps best known for his work with Nancy Sinatra (including writing megahit “These Boots Are Made For Walking”), Hazlewood did stunning work away from that particular glamour queen and found latter day champions in Beck, Sonic Youth, and Jarvis Cocker. Now, for Record Store Day 2012, we are kicking off our excavation of the Lee Hazlewood archives with this anthology, Singles, Nudes & Backsides, collecting the best of Lee’s solo songs and duets from his LHI (Lee Hazlewood Industries) imprint.

As a true legend of the great American songbook and a rebellious pioneer who left behind a lengthy trail of echo laden pop masterpieces, Lee’s influence continues to reverberate today. Between 196871, Hazlewood not only released his finest solo work, but produced numerous artists on LHI. From acidfolk and countryrock to poppsych and soul, LHI issued dozens of long forgotten 45s and LPs. This series will include material from LHI (remastered for the first time from the original analog tapes), along with Lee’s output for other labels, rarities, and unreleased gems.

See the sleeve: surrounded by nude girls, each wearing a fake moustache, Hazlewood wears a suit, eversoslightly awkwardly playing the role of the ‘60s playboy. Just like the picture, the songs present a man conflicted; he’s the tenderhearted romantic, the brokenhearted loser and the rugged cowboy, all in one. It’s there in the western swing of “Califia (Stone Rider)”, the loneliness of ”The Bed” and the bleak beauty of ”If It’s Monday Morning.” Hazlewood’s tremulous voice was made for duets (indeed, he wrote ”Some Velvet Morning”, one of the greatest of all time); here, Suzi Jane Hokom, AnnMargret and Nina Lizell play counterpart to his manly tones.

In the wonderful liner notes, written by British journalist Wyndham Wallace, the writer describes his friend Hazlewood as “a curmudgeonly, unpredictable sort at the best of times, as impatient with his own talent as he is with other people.” The Hazlewood Wallace knew was puzzled by the growing interest in him in the last two decades of his life, which was ended by cancer at age 78. That late flurry of interest saw him perform at the Royal Festival Hall in 1999, his first ever solo performance in the UK.

A natural wanderer, Lee lived a big life, fighting in the Korean War, working as a radio DJ in Phoenix, Arizona, setting up Viv Records in the ‘50s, working as a bigshot LA producer in the ‘60s, signing Phil Spector to his Trey Records label and prematurely announcing retirement in the wake of the mid‘60s British invasion. He didn’t: Nancy Sinatra came along, the hits started flowing and he continued producing characterful solo albums into the ‘70s, which saw his move to Sweden. By 2007, Hazlewood was living in Vegas, and begrudgingly enjoying that flurry of latterday interest in his work. This landmark compilation promises to create many more converts.

Quantity: 1700
Release type: RSD Exclusive Release

Dark Horse Records is proud to reissue Leon RUSSELL’s 1984 album Hank Wilson Vol. II on limited Red Vinyl for Record Store Day Black Friday. The album notably features a duet with Willie Nelson on the country standard “Wabash Cannonball,” plus takes on classics by Hank Williams, Lefty Frizzell, and Don Gibson. Russell was born in Oklahoma, had a home in Tulsa, and grew up around country and blues music. After making successful rock albums, touring, and releasing the concert album Leon Live, he returned to his roots under the name of a fictional musical personality: Hank Wilson. His second outing under this assumed name, Hank Wilson, Vol. II, was self-produced in 1981 at Leon’s Paradise Studios in Burbank, California.

The release is available for the first time on vinyl and cut from original masters.

Folk duo lilo's ascent continues with second EP, I Don’t Like My Chances On The Outside. Having met at school aged 11, Christie Gardner and Helen Dixon’s friendship runs over a decade deep. Starting out with homespun recordings and YouTube covers, by the time they moved to London in their late-teens, they had an unshakeable creative bond that forms an incredible bedrock for them to flourish from. Their exceptional debut EP Sleep Country (Practise Music) came out in late-2021. Taking cues from alt-folk and classic country, it showed a maturity and dexterity that belied their years. As Loud & Quiet said of the band in a recent interview, "what sets them apart from their contemporaries is a real understanding of Americana-influenced folk’s lineage as a genre. Think Emmylou Harris’ soul bearing and the pitchperfect vocal glide of Karen Carpenter." New EP, I Don’t Like My Chances On The Outside, is a truly brilliant follow-up that underscores that we're no longing talking about promise with this duo. Working with producer friend Joseph Futák, they're now firmly in their stride, deftly counterbalancing delicate moments and harmony-led pop highs across a full-bodied band sound. Their lyrics speak for their generation too, encapsulating the panic, anxiety and love of twenty-somethings at a time of great uncertainty; from single 'Settled' where the financial realities of needing to move back in with your parents to the sheer relief of ending a relationship on 'I Don't Love You Anymore' and 'Just A Thought's failing attempts to pull a friend away from a bad person ("It's your hill to die on," they warn), nothing is off the plate.

Pulsing electro-Fra Fra and DIY afro-gospel combine on God Created Everything, the debut album by Ghanaian singer Linda Ayupuka. Reminiscent of recent releases by Otim Alpha (Nyege Nyege) and Ata Kak, God Created Everything captures the rawness and immediacy of early-career recordings from the likes of Oumou Sangaré and Rokia Traoré, and heralds a new West African vocal talent - Linda Ayupuka. Produced by Francis Ayamga, (King Ayisoba, This Is FraFra Power!), at his locally renowned Top Link Studio in Bongo, Northern Ghana, God Created Everything features eight highly charged exchanges of polyrhythmic dancefloor beats where Linda and Francis channel traditional Guren+¢-language, Frafra ceremonial music with rapid fire tempos and hypnotic drum loops, referencing an international palette of dance styles from Malian DJ-led Balani Show street sound, electro-acholi to modern dancehall/RnB.

Here I AM is the first thing. A powerful incantation sung in full choral style at Dartington College of Arts in 1982 and captured on tape, now in 1s and 0s for all eternity. It’s a bold phrase, this assertion of existence, this permanent claiming of space in time; these three words we were made to sing in church, that we used to recite one after another at the beginning of class. Doing so might seem mundane, or easy, but it’s not. What’s easy is not. Not declaring one’s presence, not showing up at all. Claire Bushe, Cathy Frost, Lisa Halse, Cathy Josefowitz, and Mara de Wit showed up, took a side. They called themselves Lining Time. They were here. ANY Woman CAN SAY I’M A Witch, they said. Strike is the album Lining Time made. It plays out like a freedom spell, like liberatory healing magic. Reveling in the power of the voice, Lining Time sing. Not at us, but for us. As if by putting voice to the traumas inflicted by the patriarchy and capital, they could be made right. As if the whole world might join in and sing along, might join in and take action - might join in and strike.There’s nothing exclusive about the music Lining Time made. Like many of the best and weirdest records of the post-punk era, Strike wears its amateurism as a badge of honour, flies it like a flag to rally around. It is inclusive to the extreme. Which isn’t to say anyone could’ve made Strike. That’s the thing. The music preserved here is too weirdly spare and idiosyncratic - and wildly overconfident in the way that only the young and young at heart can be. Sometimes it’s almost protest folk, acappella or accompanied by a single acoustic guitar, as on ‘It’s Possible’. Sometimes schoolroom auxiliary percussion clunks out a cyclical, ritual rhythm, as on the title track. At no point does it feel less than singular. Still, this is music about and for universal sisterhood. It invites solidarity. Take up an instrument for the cause and sing your own song. Time Passes Time Passes Time Passes Time Recorded music often functions like a time capsule. It’s not rare that an album is “lost”. Rather, it’s rare that a work is heard widely at the time it was made. Often, it’s barely heard at all. It just exists somewhere, a cave painting or an ancient piece of graffiti, waiting to be stumbled upon for whatever reason. The reason, in Strike’s case, is a wonderful posthumous exhibition of Cathy Josefowitz’s artwork, The Thinking Body, a cooperative effort between Kunsthaus Langenthal, Centre Culturel Suisse, Paris, Macro Roma, Les Amis de Cathy Josefowitz, and Elise Lammer. It’s possible that some might be tempted to think of Lining Time as a sideshow curiosity to the main event, but that’d be foolish. Strike, nearly forty years old, is as alive and relevant as it was when it was recorded in the wake of the Reclaim the Night march. If anything, it’s shocking how potent and necessary its message remains today.

In the late Congolese musician Lumingu Zorro, protégé of Kinshasa’s legendary 60s band leader Dr Nico, recorded Mosese, his only pre-2000 solo album, for the Tabansi label- and this is it.CHAMPETA STORM WARNING! The first-ever reissue of one of West Africa’s best-kept rumba-soukous secrets- as well as being one of the most in-demand titles on Colombia’s booming Champeta sound system scene, where a rare record is protected as fiercely as on the Northern Soul or Jamaican sound system scenes, the label scratched off, the record hidden from view when not on the turntable.Possibly one of the strongest and most consistent Congo dancefloor albums ever recorded perfectly balanced between voices, horns, guitars and percussion.Which is why original copies of this all-time rumba rarity almost never reach the open market, being traded between Colombia’s champeta picoteros (sound system selectors) instead.In Kinshasa they say ‘Miziki ezelaki eleng ndeko’- ‘Sweet music, brother!’. Roger that

Combine a single-malt voice, an acoustic guitar, songs from the heart and a touch of magic, and you have the music of Mari Mana. Her music possesses that nostalgic familiarity and that fresh wonder at the same time. Her performance is a unique and enchanting expression of wise melancholy and a poetic love for life.
Mari Mana was born and raised in Berlin. She wrote her first songs in the year 2000, and since 2008 has taken her performances to various concerts and festivals worldwide.
With arrangements consisting of strings, bass, drums and electronic elements, arranged and produced together with Mo Stern, we present Mari Mana’s music for the first time on vinyl.
The songs 'Floating' and 'Find Me' are influenced by Soul, Folk and Electronic Music, and feature various international musicians, including
Alex Trebo (ITA), Timo Lassy (FIN), Marlene Schuen (ITA), Lee Caspi (ISR) and Natasha Jaffe (USA).

In this new album, Matjé delivers stories sung or rapped in French on tropical music. His light and poetic words but heavy with meaning mingle, among others, with Colombian Cumbia, Brazilian Forro, African Soukous, Reunion Maloya, Malagasy Salegy...Although drawing on traditional music, this new opus is anchored in modernity and we sometimes feel Hip hop influences in the flow or production of certain titles.His solar and catchy music exudes a positive energy inviting to dance while the careful and poetic writing leads to take a step back and reflect.

"28/4/23" captures the atmospheric live performance of Swedish composer Mats Erlandsson at Fylkingen, Stockholm on the 28th of April, 2023. With exceptional delicacy, Erlandsson guides the audience through his signature electro-gothic soundscape of continuous tension; 40 minutes of processed field recordings, zither, feedback and Serge modular synthesizer.

Cyanotype prints and woodcut by Håkan Jonson. Released in an edition of 90 copies.