Holuzam is a new label from Prícncipe Discos co-founders José Moura and Márcio Matos. The second release on the label is a sublime disco missive from Macau, China, recorded between 1989 and 1993, bubbling up from a blindspot to offer a stunning package of sounds lesser, or even never, heard beyond private archives or Portugal’s borders...
Dwart has been the vessel for journalist and musician António Duarte and his sometime musical partner, Manuela Duarte, since 1985. They played gigs at home in Portugal with Telectu in support, before moving to Macau - then a Portuguese territory in China - in search of new sources of inspiration. They would find it everywhere from Macau’s karaoke bars to the discos of Ghangzhou, over the border in the hot, humid megatropolis of South East China. The three tracks on ‘Taipei Disco’ are their best recordings made during this era, rendering a mouth-watering bounty of exotic late ‘80s dance music heavily inspired by Canton pop, and patently compatible with everything from kosmische disco and proto-Goa trance to the current swell of suave, retro-futurist styles from Pye Corner Audio and Legowelt to L.I.E.S.’ KWC releases.
The original ‘Taipei Disco’ is a 12 minute disco dream named after the only Guangzhou club which would play Anglo-Saxon pop and rock alongside the Canton pop standards.The club’s DJ would end up playing Dwart’s tune, and eventually invited him to play live keys over its backing track at the club. In 1993 Dwart recorded the exquisite ‘Taipei Disco (Live)’ track at the China Pop venue in Macau, replete with solos and extra strings, to a frontline of can-can dancers on the ‘floor.
Completing the story and this superb record is ‘Red Mambo (Impromptu)’, a balmier jam with members of legendary Cape Verdean group Os Tubarões, recorded in a packed studio on the 19th storey of a Macau tower block overlooking the water. A perfect ending to an exotic, coolly entrancing record spritzed with character and charm.
Killer debut release from FUMU, coughing up 18 sawn-off tracks of fucked hip hop, warehouse and techno on Andrew Lyster’s Youth label. Definitely mark this gadge in your one-to-watch list.
Hailing from downwind of heavy North East industry, but currently sequestered in Manchester, FUMU is a member of the Return to Zero crew and a known affiliate of Modern Love’s Turinn, with whom he’s shared a studio and shares a taste for the most guttural, asphalt-grained dance music and short-circuiting electronics.
On ’Sinuate’ FUMU finally yields a peek at his working praxis, revealing a restlessly roving mind at work consolidating myriad, fractious styles at mutant angles, and in a half-cut and gauzy style that recalls everyone from Mica Levi and co thru to Madteo. It’s the sort of sound that only comes with being an omnivorous listener and hard-headed producer, the kind that pushes his gear to the point of near breakdown in order to bring out its most unique sounds.
If we’re playing favourites, the trilling pendulations and overproof bass of ‘Graeyard’ are right up there, as is the NoYo dembow bleeper ‘In The Darkness Girl’, and the honky boschment of ‘Regulator’, but to be fair there’s f*cking loads to go on, and we’re sure everyone else will have their own percy.
Amazing proto-Drexciyan synths and alien electronics from Portugal, 1983, a first time reissue on Holuzam - a brand new label from the people behind Príncipe. Don't miss this!!!
Holuzam is a new label from Prícncipe Discos co-founders José Moura and Márcio Matos. Their first release is an expanded edition of Telectu’s freakishly immersive 1983 LP, ’Belzebu’; a 40min suite of sweltering, proto-Drexciyan synths, lilting Afro influences and subaquatic rhythms unavailable on any format since the original release, which now trades for triple figures in the 2nd hand market
Viewed from any angle, ‘Belzebu’ is an iridescent oddity in its field, and was certainly among the first of its ilk within the Portuguese music scene. It was the product of experiments by multi-instrumentalist and music writer Jorge Lima Barreto (JLB), and the co-founder of pop-rock band GNR, Vitor Rua (VR), whose shared interests dovetailed into a mutual fascination with unorthodox, improvised and electronic sounds, leading to these remarkable, home recorded conclusions in 1983.
During late 1982 and into 1983, JLB and VR channelled those notions, together with ideas picked up from the NYC minimalist and no wave scene during travels in North and South America, into a strangely prescient and non pareil sound. Homing in on a high pitched, chaotic granular squabble they termed ‘Belzebu Zero’ - which forms the original demo for the album and is included here as a bonus CD - the duo layered that sound with precise guitar strokes, drum machine, synths and FX to hypnotically immersive and dramatically alien effect.
On the A-side ‘Rotas Opera Temet’ they plunge into a 20 minute vortex of electric blue synth noise and scaly flutters recalling a prototypical Drexicyan soundtrack to a film about Atlantis. With the B-side, they take that idea fathoms further into the abyss, wrapping coruscating chords and ticking machine pulses to the high end squabble with a supremely heady sensation, especially when the rhythm opens out into a demented shift in the track’s 2nd half.
There’s a genuine genius at work in this record which is bound to enthrall and absorb listeners from myriad perspectives. Everyone from Jamal Moss fiends to Drexciyan divers and Craig Leon fans need to spend some time with this beautiful oddity....
No rest for the wickedest Analog Africa, bustling retro-futurist with Gyedu-Blay Ambolley’s volley of electrified Ghainain highlife, from the disco beeps of ‘The Message’ to the dubbed-out ‘Simigwa Soca’ and the unmissable synthy disco heat of ‘Burkina Faso’. Impossible to find in any original form, this is just unmissable for the Afro-disco fiends!
“Prepare yourself for new directions in Afro-funk. During the 1980s, ghanaian bandleader Gyedu-Blay Ambolley began to experiment with electronic instruments, and the result was a potent cocktail of highlife, funk, exploratory synths and righteous vocals, the sound of a restless genius intent on pushing the traditional sounds of highlife into a brave new future. On July 20 Analog Africa will release a 12” containing four of Ambolley’s hardest-driving excursions to the outer limits of eighties funk.
By the end of the 1970s, Ambolley was already a legendary figure on the ghanaian music scene. A drummer, turned guitarist, turned bassist, turned lead vocalist, he rose to prominence during the late 1960s, serving with countryman Ebo Taylor in the Stargazers and the Uhuru Dance Band before launching his own career with ‘Simigwa-do’, the 1972 hit that propelled him to West African stardom. As a founding member of the Apagya Show Band and the Complex Soundz, he stretched the boundaries of highlife with electric instruments, funky rhythms and socially charged lyrics in Fante and English.
If he had retired in 1978, Ambolley’s place in the history of ghanaian music would have been secure. Instead, he dissolved the Complex Soundz and embraced the synthesizer. With a new band, Zantoda Mak III, he recorded ‘The Message’, a seven minute funk workout built on a highlife foundation, and decorated with shimmering synths. Recorded in 1980, the song became a hit that would change the direction of Ambolley’s music: over the next decade, electronic instruments played a much larger role in his sonic experiments.
‘The Message’ receives a long overdue re-release on this 12" along with three other peaks from Ambolley’s eighties output. The futuristic funk of ‘Akoko Ba’ strips down the rhythm, raises the intensity of the vocals, and adds a dose of serpentine saxophone. On the B-side, ‘Simigwa Soca’ sets classic highlife horns against an unshakable bass groove, while the incredible ‘Burkina Faso’ is Ghana’s great lost electro-funk gem, a sleek construction of robotic bass, call-and-response vocals, and fat stabs of slippery synth.
Difficult, if not impossible to find for decades, Analog Africa is proud to make Gyedu-Blay Ambolley’s extraordinary eighties recordings available to a wider audience.”
Jai and Anup Paul pluck out this deep pop pearl from Hira, one of the newest recruits to their Paul Institute label...
Cut from similar, purple cloth as label CEO Jai Paul, ‘Red Light Drive’ finds yung Hira glowing in the middle of sparking Linn drums and cruising cyber-bass strokes, working a proper classic yet futuristic pivot that puts a lot of contemporary boogie into stark relief.