Bongo Joe

Al Doum & The Faryds : Spirit rejoin

The fourth album of the Milanese band. Compared to previous works, the substantial characteristics of the sound remain a powerful rhythmic basis and the prestigious skill in the poly-rhythmic dynamics; everything is however moved towards accents of more markedly jazzy ancestry. Basically the Faryds absorb and re-elaborate with remarkable insights disparate elements and influences of certain electric jazz or rock-jazz-blues of the '70s (Miles Davis, Dr.John, Graham Bond, Jeremy Steig) and spiritual jazz (Sun Ra, Pharoah Sanders, Don Cherry, Brother Ah), marrying them with the forceful instances of certain Afro-free jazz (Pyramids, Alkebu-Lan) and the more freak-jam plots typical of space rock. The sense of complete unity is also rooted in the balanced synergy and chorality of the instruments, which enjoy a perfect osmotic reciprocity and complementarity. A very important role is played by the entry of Fender Rhodes that chromatically emphasizes the parts as counterpoints and hypnotic ostinatos chased by the dense timbral mixtures of alto-sax and flute and roaring wah-wah guitars with flowing acid trajectories.

Altin Gün : On

Turkkilaista nykypsykerockia vahvasti Erkin Korayn ja Baris Mancon hengessä.

Augenwasser : The big swim

With his third album, 'The Big Swim' Augenwasser ventures once again into the paths of synth wave exploration with a popfeel. Still laced with the folk textures of his early days, he nevertheless develops a dance approach that can at times be akin to melancholic drone. His music takes you to an imaginary, dark club, lulled by a haunting rhythm, surrounded by the fumes of the night, where it is possible to indulge in that quiet voice that has already confessed that it is too late but will never stop repeating its soft, cold poetry. "You'll realize one sad morning/some things change without a warning. In the same way that we realize as a child that things are bigger than they seem, so we discover the music of Augenwasser. A simple and disturbing melody, beautiful and sincere, declined toexcess, which grows with each track, as a stream turns into a lake, a music that builds a world of broken papers and enchanted ideas.

Begayer : Terrain a mire. une maison...

...RETIVE CONTRAINTE PAR LE TOIT' - First album of Bégayer, French weirdo folk made on home made instruments, modified transistor radios and old electronic devices.

Blanco Teta : Rompe paga

Riot Grrrl fire and noise meets musical debauchery from Latin America. Born in Argentina in 2017, Blanco Teta is more than just a band. The project melts experimental rock, punk-pop and trash noise to develop a statement that pass over genre limits. The quatuor digs with intensity into noise, dance, avant-garde but also into politic with a clear speech on transfeminism. From the suburbs of Buenos Aires to some of the most interesting European festivals, passing by an outstanding KEXP session, the live iteration of Blanco Teta proposes something so fresh crossing border of performance to create an immersive experience at high level of energy and madness. 'Rompe Paga' is their third record material but also their first LP. Going from trashy skate-punk vibe tracks to serious noise experiences, the band experiments with no limit. Using a lot of glitches effect or digital mixing tools as autotune, the album is a real mind blower. With very political lyrics, Blanco Teta goes further than just a punky project, it demonstrates the power of music and put the audience into something real.

Chouk Bwa & The Angstromers : Vodou ale

In 2016, Haitian voodoo band Chouk Bwa and electronic production duo The Angströmers united to form Chouk Bwa & The Angströmers. Chouk Bwa play traditional Haitian music; they would fit in the "mizik rasin" genre, alongside bands like Boukman Eksperyans, Boukan Ginen or Rasin Mapou from Azor.However, until their decisive encounter with The Angströmers, their most characteristic feature was their loyalty to the essential elements of voodoo - therefore without anyinstrumental addition. The Angströmers, an electronic music duo consisting of Nicolas Esterle and Frédéric Alstadt,constitute one of the artistic emanations of the label The Angströmers. The Angströmers spread their music full of bass and echos, influenced by dub and drone music, all over the underground European stages. All along their encounter with the voodoo culture, they learn to expand their sound by immersing themselves into complex polyrhythms. They develop an electronic psychedelic music, free of all the codes of binary, 4/4 standards that dominate the club world.

Citron Citron : Mareeternelle

Citron Citron is back! The ethereal sister-and-brother duo has worked hard over the past two years on the album 'Maréeternelle.' Maintaining their majestic compositions, dual lead vocals, and home-made organic sound machinery, Citron Citron delves deeper into their sonic universe, singing about daily life, death, and love with the same poetic and personal vibe. Recorded in their home studio, and with a rare '70s EMS synth handed down from their respected avant garde artist grandfather Rainer Boesch also making an appearance, Citron Citron's light touch is an analogue charm, measuring up to the giants of the genre's history. Its title, 'Maréeternelle,' is a compound word coined by the duo and translating as 'eternal tide.' It references the continuous cyclical flow of existence - day and night; life and death - and how they, you and I structure our lives around this.

Ensemble Minisym : Moondog new sound

"I like to write chamber and choral music, especially for orchestra. But since it is not always easy to have orchestral works performed, the organ is the next best medium to give the composer vast tonal resources...", Moondog wrote in 1978 in the liner notes accompanying the 'Selected Works' album - the confidential American cousin of Moondog in Europe, the first album he recorded in Germany. With 'New Sound', the Minisym Ensemble goes the opposite direction, taking the pieces for organ(s) constituting the 'A New Sound Of An Old Instrument' album (1979) - as well as pieces composed in Europe during the same period - towards a new and singular instrumentation.

Ferguson, Walter Gavitt : King of calypso limonense 1

'THE LEGENDARY TAPE RECORDINGS VOL. 1' - 99 year-old Walter Gavitt Ferguson from Costa Rica is a humble soul and a living legend, a Calypsonian of mythical proportions. Rooted like an old tree on the Caribbean shore, he has never left his home town to look for fame, instead fame did come to look for him. Throughout eight decades, rumours of his musical gifts have attracted people from near and far, contesting Calypsonians, fans, tourists, musicologists, musicians, pilgrims and the President of the Republic. They once even moved a recording studio to his house as he refused to go to the city. But many years before that, Ferguson used to sell his legendary self recorded cassettes to travelers and music lovers from all around the globe. He never kept a copy for himself and with age started to forget many old compositions. A recently started, international "tape hunt" was able to locate 9 such tapes in Canada and rescued 50 of his forgotten songs. Vol. 1 of this tropical treasure is now available, resurrected directly from original cassettes of the Calypso King.

Hyperculte : Massif occidental

Second album by this Swiss trans pop kraut duo, formed by the cream of Genevan experimental scene (Simone Aubert on drums, guitar and vocals and Vincent Bertholet on double-bass and vocals) follows its crazy procession in a chaotic word to carry us away in its disco, pop, kraut, punk AND post rock trance.

La Tene : Ecorcha/taillee

La Tène's boundary-blurring fragmentation of traditional music is a propulsive and pulsating trip drawing upon Terry Riley and the minimalist masters. La Tène named themselves in reference to a cultural period spanning a few centuries of the lateIron Age, first defined in the mid-19th century after a flurry of archaeological discoveries near a Swiss lake. That's not a superficial hat tip, either. La Tène's long, hypnotic, wordless pieces are built from traditional folk instrumentation, wild percussion and blurred, subtle electronic embellishments, and feel as ancient and earthy as those millennia-old artefacts - with all the metal, wood, dedication, and craftsmanship they entailed. 'Ecorcha/Taillée,' their fourth release and third for Geneva's Bongo Joe label, is the sound of three musicians playing together as intuitively as if hooked up to a central, pulsating brain.

Lalalar : Bi cinnete bakar

Law, Forest : Zero

Forest Law's debut album, 'Zero,' is a vibrant journey blending Balearic funk with urban Tropicalia, showcasing his adept guitar playing, old-school sampling, and UK-styled beats alongside his mellow yet sombre vocals. Recorded across eclectic locations from Icelandic fish net factories to a garden shed in Romford, this innovative release marks a new chapter for the multi-instrumentalist producer. Released in collaboration with the UK home for jazz and electronic sounds, Total Refreshment Centre, 'Zero' is Forest Law's first release since his debut EP on Brownswood Recordings four years ago, marking a new and exciting chapter for the up-and-coming talent. Crafted over seven years, 'Zero' is deeply influenced by Law's experiences, from immersive stays in Porto where he delved into Portuguese music to an artist residency in a remote Icelandic fishing village. The album was finished, and recorded in his garden shed in Romford, East London. It's a beautiful juxtaposition about a boy from Essex, who fell in love with international music, discovered the world, and then produced a musical treatise about his adventures from his shed.

Leoni Leoni : Leoni leoni

Madalitso Band : Musakayike

Massicot : Kratt

Massicot's 'Kratt' album occupies a strange and wonderful Reuleaux triangle situated between the traditional spiritual story telling mysticism of North European pagan folklore, Latin and middle eastern inspired polyrythms and post punk. Its meandering arrangements are full and juicy, yet formed from the simplest elements, they are minimal, sculpted and refined.Bouncing and multitimbral percussive tapestries are coupled with thick pulsating baselines to form tightly wound rolling beats, accented by citric guitar hooks that bring to mind the percussive pique and jag of Glenn Branca or Talking Heads and soothed by Latvian chant-like and choral vocal melodies,Massicot choreograph a sort of carnival caousel dance eternal that locks in the mind and lures the body. The groove is key, mechanical, yet nuanced, seductive and human.

Meridian Brothers : Mi latinoamerica sufre

Bogotá-based Colombian composer Eblis Alvarez, known as Meridian Brothers, has been concocting a unique blend of psychedelic sounds since 1998. With this album Alvarez explores the untapped potential of the electric guitar in a tropical Latin context. Drawing inspiration from African highlife and soukous traditions, Alvarez 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, Alvarez 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, Alvarez showcases his vocal prowess, creating a sonic theater of the mind. Accompanied by visual narratives from Colombian artist Mateo Rivano, the album portrays various psychological states of disorientation, self-pity, enlightenment, and optimism. 'Mi Latinoamérica Sufre' emerges as a worthy and innovative addition to the concept album tradition, offering a distinctive blend of bitter-sweet flavors inspired by Latinoamérica.

Meridian Brothers / Conjunto Media Luna : Paz en la terra

'Paz En La Tierra is' a result of a search by the Meridian Brothers and Conjunto Media Luna of the heart of something that can be called a 'power format' of Colombian Caribbean music;accordion, guacharaca, caja, congas, electric bass, and vocals.

Meril Wubslin : Alors quoi

Recorded between Lausanne and Brussels during summer 2019, this series of songs by Meril Wubslin dig deeper in this tribal, rustic and minimal tendency that they had in the two previous albums. It is the desire to search for sounds, to manipulate matter: sound matter, rhythmic matter, to knead it to its hottest point, that guided the work of composition. All vintage guitars were recorded without amps. Tambourines and other maracas were approached as a drum kit. 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 trapof "Variété Française".

Odessey & Oracle : Speculatio

The second full-length by the psychedelic band from Lyon,France, that named itself after the classic Zombies-LP. Expectcolourful retro-futuristic music with influences from a.o.Brian Wilson, Caetano Veloso, White Noise, J.S. Bach, Moondog,Robert Wyatt... The French lyrics, both surreal and utopian,witness the contradictions of our times and invite the listenerto imagine a revolutionary love.

Quliyev, Rustam : Azerbaijani gitara

Rüstem Quliyev was born in 1969 in the village of Kosalar, Nagorno Karabakh. At the age of seven he had already mastered the tar before moving on to play the saz. He first encountered the guitar whilst doing his military service for the USSR in Russia and quickly made a name for himself as a guitarist after returning to Azerbaijan. During the early 1990s, after years of intense fighting, he had to flee his home due to the conflict in Nagorno Karabakh and settled in the capital city Baku where his guitar playing took on a new character. Here he played at weddings, made TV appearances and recorded numerous cassettes with small labels in the city. Rüstem's guitar playing not only drew on the rich traditional music of Azerbaijan but his thirst and passion for music also meant that he incorporated styles from across the globe into his repertoire- from Bollywood disco tunes and Afghan pop songs to Iranian street melodies and Spanish flamenco. He crafted a unique sound within an alreadyidiosyncratic subculture of Azerbaijani electric guitar music. Sadly his career was brought to a sudden end in 2005 after a short battle with lung cancer. His music, however, lives on remaining popular throughout the country. This album of archival recordings, produced in collaboration with Rüstem Quliyev's family, marks the first international release of thisguitar legend's music. Since the late 1960s the guitar has been adopted and transformed by musicians across the Caucasus. Inspired by traditional genres, such as the courtly mugham and the songs and tunes of ashiq bards, guitarists have developed a unique sound, new techniques and styles of playing. 'Gitara' traces the development of this musical subculture, following the lives of guitarists from the suburbs of Azerbaijan's capital Baku to the rural villages of Borcali (Kvemo Kartli) in Georgia.

Sourdurent : L'herbe de detourne

Following in the footsteps of 'L'Espròva,' a record released in 2018 and 'Mantras,' a body of long instrumental pieces, Ernest Bergez joins Jacques Puech, Elisa Trebouville and Loup Uberto to explore the possibilities of a collective energy. 'L'HerbeDe Détourne' 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 completlyfree state of mind. Themes and songs are wound up in complex rhythmic gears and follow one another in a continuous momentum. Freely digested, the traditional repertoire from the Massif Central mutates and hybridises with invented forms, inspiredby traditional Greek, Persian and North African music... The result is music that is as much for the ears, the feet, as for the guts and perhaps the heart. It can be a ball, a concert, or a spontaneous ceremony. The Occitan language takes a central place, both as musical material and as a poetic and emotional springboard. Inspired by traditional canvases, a poetic form emerges and makes its way through the old words, passedfrom mouth to mouth.

Tout Bleu : Otium

Tout Bleu's second record, 'Otium', recalls a route where the electronic crosses paths with the acoustic. This new milestone in Genevan multi-instrumentalist Simone Aubert's (Massicot,Hyperculte) musical field represents a kind of fruitful deceleration. Initially conceived as a solo project, the act is now an exploration ground for the musicians gathered on 'Otium': Naomi Mabanda on cello (Orchestre Tout Puissant Marcel Duchamp, Chien Mon Ami) and Luciano Turella on alto (Irtum Branda) encounter the sampling machines of POL, that could already be found on the first eponymous album. The band, by using acoustic instruments, vocals and electric guitar in an unconventional way, draws an orchestral landscape that sometimes flirts with pop, and where strings merge in polyrythm on low tempo beats.

V/A : Soul sega sa! vol. 2

The gradual appropriation by the Creole populations of Western instruments and European melodic traditions (quadrilles, waltzes, polkas, Scottish, romances, mazurkas), as well as the cultural contribution of committed workers from India laid thefoundations of the modern sega. This crossroads of influences was to continue to grow, especially from the 1950s, whenthe first phonographs arrived, playing all kinds of varieties but also jazz, soul, rock'n'roll, and even Cuban or Brazilian music. For the sega, these were the first steps towards a period of intense creativity that would cover the 1960s and 1970s. Amplified instruments arrived, and electric guitars, basses, drums and keyboards quickly replaced violins and accordions. Record production exploded and saw the advent of many micro-labels featuring genius arrangers such as Marclaine Antoine, Gérard Cimiotti, Eric Nelson, Claude Vinh San, or Narmine Ducap who explored the sega in its many facets. Psychedelic keyboards, fuzz guitars and undulating basses invited themselves on the furious ternary polyrhythms of drums, ravannes, bongos, claves, triangles and maracas, to produce a unique style. Here are some pearls from this golden age of the segas of Mauritius, Seychelles and Reunion Island that are compiled in this volume 2 for our greatest pleasure!

V/A : Club coco: ¡ahora!

'THE LATIN SOUND OF NOW' - Coco María and Bongo Joe reunite for the second edition of 'Club Coco,' featuring a sackful of Latin inspired tracks from international bands and producers. All the songs were selected by Coco María, who in recent years has gone from a promising up-and-comer to an ever-present and influential figure in the music industry, widely known forher tireless work shining a light on contemporary, pan-Latin roots music around the world, through both her live DJs sets and eclectic radio sessions. This compilation brings together several of the most respected and innovative artists on the frontiers of tropical music today. Those who take the energy, melodies and textures of classic Latin music and turn those gems into songs tailor-made for a new generation of music lovers. Simply put, it's a record for those diggers who jump with excitement when they find a vinyl reissue of some Latin star of the past, be it Joe Arroyo, Los Mirlos or Aniceto Molina and then wonder, "This classic music sounds amazing, but where are the bands that are taking these sounds to new places?".TRACKS:01. Raz Olsher - Pacific Dreams02. Los Pirañas - Puerta Del Sol03. Lola's Dice - Sacudete04. Guess What - Children's Favourite05. Acid Coco - Seguimos Sonriendo06. Juan Hundred - Always Ready To Smoke07. Las Mijas - Ronca (Carta Para Una Mija)08. Dip In The Dub - La Cumbia DelSufi Que No Sabia Bailar09. Chupameeldedo - Metalero10. Guess What - Stickle Bricks11. Candeleros - El Bravo 12. Iko Chérie - Lepidoptera13. Ronald Snijders - Off The Groove14. Raz Olsher - Vamonos Cocos

V/A : Intenta

'EXPERIMENTAL & ELECTRONIC MUSIC FROM SWITZERLAND 1981-1983' - Décalé Records and Bongo Joe Records present a compilation placing the spotlight on the Swiss experimental and electronic scene of the '80s and the early '90s. The compilation 'Intenta' assembles under-appreciated gems, sought-after titlesand newly mixed versions. It places leftfield synth-pop next to otherworldly jazz, and joins the dots between lyrical post-punk excursions and proto-house experimentation. The compilation covers a period of transition: When songs mutated into sounds.When synthesizers and samplers became the règle du jeu in DIY music-making. When a politicized youth movement slowly gave way to the hedonistic embrace of techno culture in Switzerland. 'Intenta' mines the outer fringes of a scene yet to be. Many of these experimenters were pretty much on their own. Often the only way you would get in touch was at the local synth dealer.A spirit of bold improvisation inhabited studios between Geneva and St. Gallen: these artists were articulating pop sensibilities (Air Project, Sky Bird, D-Sire, Peter PhilippeWeiss), entering computer worlds (Claudine Chirac, Olivier Rogg, Carlos Perón), exploring exotic shores (Andreas Hofer, Bells Of Kyoto, Fizzè), building future discothèques (Aborted At Line 6, Carol Rich, UnknownmiX) or finding glacial bliss(Dressed Up Animals, Elephant Château, I Suonatori). The compilation was put together by Matthias Orsett and Maxi Fischer. 'Intenta' unfolds as a sonic story that is laid-back yet energetic, sultry yet daring. The two crate diggers set out to meet with many of the artists arrayed here. Memories wereshared, wine bottles opened. There were moments of sadness: Karl Lienert Löwenherz (Dressed Up Animals) and Claudius Scholer (Sky Bird) passed away during the making of this project. What remains of this journey into the backrooms ofSwiss popular culture, is 'Intenta'. If you listen closely, it will reveal a nation on the move. Beyond the Matterhorn, there is sweetness and light.

V/A : Merengue tipico, nueva generacion!

'Merengue Típico, Nueva Generación!' delves into the heart of Dominican merengue, a genre whose significance often eludes the spotlight. Bongo Joe's venture into unexplored terrain takes us to the Caribbean, specifically the Dominican Republic, shedding light on its musical tapestry. Curated by Xavier Daive, aka Funky Bompa, the compilation unveils rare '60s and '70s gems, providing a glimpse into a transformative period following the fall of the Trujillo regime. With over 20 years in the Dominican Republic, Xavier Daive meticulously sources original 45s, offering a snapshot of merengue's evolution during a creatively charged era post-Trujillo. The genre's roots, dating back to the 19th-century Dominican Republic, predate salsa, establishing its unique identity with the introduction ofaccordions via German trade ships. The genre's classic típico configuration emerged in the mid-'60s, leaving a lasting impact on its evolution. Focused on the explosive '60s and '70s merengue típico scene, influenced by genre pioneers like "Tatico" Henríquez and Trio Reynoso, the compilation showcasestechnical finesse and high-speed rhythms. Tracks like Rafaelito Román's 'Que Mala Suerte' embody the genre's infectious energy. Aristides Ramírez's 'Los Lanbones' adds a touch of humor, cautioning against pub freeloaders. 'Merengue Típico, NuevaGeneración' transcends the realms of a typical reissue; it's an immersive journey into the roots of Dominican merengue, expanding its narrative beyond borders to enrich the global musical landscape. This compilation goes beyond individual tracks, providing a historical and cultural context, enriching our understanding of the genre's evolution in the DominicanRepublic during a crucial period. Designed for both connoisseurs and wild dancefloors, this compilation is not only a historical and cultural exploration but also a treasure trovefor DJs seeking to infuse their sets with the vibrant rhythms of merengue típico.TRACKS:01. Trio Rosario - Cuando Yo Muera02. Fefita La Grande - C...

Yildirim, Derya & Grup Simsek : Kar yagar

Two years after the success of 'Nem Kaldi', outernational psych-pop sensation Derya Yildirim & Grup Simsek deliver their debut album 'Kar Yagar' - and it was worth the wait! Over the course of it's 12 tracks, the powerful sound of the baglama(Turkish lute) and Derya Yildirim's stunning vocals, builds and unravels stories together with the guitars, organs, drums, flute and bass. 'Kar Yagar' (which translates as 'Snow Falls') has the dynamics of an epic journey through the Anatolian highlands; where deep-rooted folk effortlessly switches tosparkly improvisation or dancy pop tracks. The album was self produced at their studio in the French Alps, and the band's tour de force resides in their ability to develop their personal sound and approach whilst keeping their heart tuned to Derya Yildirim's Anatolian roots. The LP also contains a string of Turkish folk songs, that the band entirely re-arrangedwhilst preserving their original spirit and soul.