Bounaly
Dimanche À Bamako

“Timeless minimalistic approach to composition braced by repetition and playfulness. Alberto’s music reflects calm, focus and intimacy. Ethereal and atmospheric, his pieces operate within the digital as well as the analogue realm in equal measures. Sampling, Midi sequencing and field recordings are the instrumentation used in these 15 songs recorded on a four track reel to reel tape. Highest possible recommendation for fans of Suso Saiz, Jon Hassel, Eno or Harold Budd”.“Haizetxe” which stands for wind house, is the first ever record consisting of unreleased material recorded between mid 80’s and 90’s by musician Alberto Lizarralde in Zaldibia, Basque Country.One of the founders of the first school of Improvisational jazz and contemporary music (Jazzle) established in San Sebastián in the early 1990s,Alberto is a well-known figure among Basque musicians but not so much amongst the general public. In his professional curriculum we find the direction of the Plaza Festival, the Zirrara record company, his work as a producer, editor (editions 3e argitalpenak), the direction of the audiovisual installation JA Artzeren Unibertsoa, the arrangements and composition for the Iparraguirre 7 project, etc...And even so, he has managed to stay away from the spotlight.In all this time he was composing and recording music, but the right circumstances never arose for its release.Thus, it has remained stored in a drawer all these years. Finally the music of Alberto Lizarralde sees the light on Hegoa label in a limited run of 300 LPs.

Analog Africa release a brilliant compilation of early work from Ary Lobo, a singer from northern Brazil who recorded a stunning series of albums from the late Fifties to the mid-Sixties. Featuring music taken from 1958’s Forró Con Ary Lobo to 1966’s Quem É O Campeão?, it demonstrates his reputation as a master of Baião, Côco and Batuque.Limited Edition LP in a Gatefold Cover pressed on 180g high quality virgin vinyl

Après leur cinquième album « Aşk », le groupe turco-psyché Altın Gün revient avec un 45 tours de deux chansons remixées pour l’été. Les deux titres sont remixés par Jasper Verhulst (basse) et Chris Bruining (percussions), membres du groupe Altın Gün. Ces deux-là sont toujours à la recherche de nouvelles façons de (re)créer de la musique et ces remixes étaient une façon de découvrir de nouvelles voies dans la musique qu’ils façonnent en tant que membres d’Altın Gün. Kalk Gidelim est un remix de cumbia, inspiré par la cumbia villera d’Argentine, tandis que Su Sızıyor est un remix de style digidub avec beaucoup de reverb et de phasers inspirés de King Tubby. En fin de compte, ce projet de remix est juste pour le plaisir, pour profiter de l’été dans la bonne humeur.

Marseille label Secousse turn their attention to the debut single of Senegalese musician Maxidilick Adioa. 'Toubab Bile' was originally released in 1987, and it tackles the harrowing story of the West African soldiers betrayed by the French army in 1944. Having worked as a percussionist for years before that, Adioa invested his own money into recording the track in Paris and finding distribution through Safari Ambiance until his talents were picked up on by Island's Chris Blackwell. The track single-handedly launched Adioa's solo career, and it's not hard to hear why - the perfect synergy of West African and Jamaican music with a potent call for justice in its heart.

↪ SECONDE MAIN ↩Germany pressing 1971.Vinyl condition: Very Good (VG)Sleeve condition: Very Good Plus (VG)Another solid album by the british power trio May Blitz. Bluesy and prog-ish hard rock/heavy psych, with a quite crude and underground sound. Some funk-ish rhythms. The opener "For Mad Men Only" is a strong, killer track but all the album is really enjoyable. Great bass, guitars and drumming.

Temporarily rebranding themselves as Ian Carr With Nucleus, 1971’s ‘Solar Plexus’ was the jazz fusion ensemble’s third studio album. The same line-up that was responsible for the 1970 classics ‘Elastic Rock’ and ‘We’ll Talk About It Later’ was augmented by six extra members, with Carr taking full creative control and positioning the band more firmly in pure jazz territory, albeit with a rock-based structure.