Unknown Artist
International Breaks 606: Rare Drums From Around The Globe

EM Records: ...Clan Caimán returns to EM Records for their second album, continuing the instinctive evolution of their music: a wordless, timeless, gently pulsing and sweetly melodic soundworld, based on composer Emilio Haro’s vision of a band playing the music of an imaginary undiscovered ethnic group. Woven together by Haro’s self-made kalimbafón, a tuned percussion instrument, these five Argentinian musicians also use threads of lap steel, guitars, bass and percussion to knit their beyond-genre textures, seemingly ageless despite being recorded in December 2019. Available on CD, digital download and 12’’ LP, the latter cut at Berlin’s famed Dubplates and Mastering. “Asoma” is perfect music for imaginary voyages during travel-restricted times.

P-Vine: ...The world's first LP reissue of the finest Lady Soul board FAY "This Is A Blessing", which has never been reissued since its original release in 1981!Full of killer tunes such as "I Don't Know", a city soul produced by "Spread Love" MICHAEL ORR, which is familiar even with that "witch" jacket! The original is extremely rare! !!Fay Hill, a female singer who has been based in LA since the 1980s, is an artist known for her 2nd album "Island In My Mind", which was released in 1987 and appointed professional musicians and engineers from LA. , The 1st album released in 1981, this work is a superb lady soul with powerful vocals and a sound full of city feeling!Among them, the city soul "I Don't Know" (M5), which is produced by MICHAEL ORR, who is familiar with the rare groove scene, and the guitar cutting at the beginning is too comfortable, is an exaggeration to say that it is the highlight of this work. There will be no.Furthermore, the world's first LP full of killer tunes such as "I Know Who You Should See" (M2) and "Any Load You Can Handle" (M7), which were single-cut at 7 inches at that time and are still premiered. It's a reissue!

LITA: ...Ethiopians’ deep-seated ethiocentrism, the legacy of a thousand years of history, has contributed in no small way to their music’s strong national identity, particularly impervious to any African influences. Latin influences, so pervasive in the great musical centers of West Africa and the Congo, have been similarly rebuffed, despite the brilliant attempts of a musician like Mulatu Astatke. He was the first and for a long time the only Ethiopian to have studied music abroad (England and USA). In the late ‘60s, he brought back ’ethio-jazz’, as well as a passion for Latin rhythms that was not readily shared by the Ethiopian audience. As early as 1966, he released a single and two LPs in the US entitled Afro-Latin Soul (and a third LP, Mulatu of Ethiopia in 1972), with his Ethiopian Quintet composed of American and Latin-American musicians (Worthy Records). That was three years before Fela’s first American tour and six years prior to Manu Dibango’s key breakthrough with the release of Soul Makossa in the Western ‘pre-World music’ market. All this goes to show how much the history of the African continent’s musical modernity should be reconsidered in light of the Ethiopian adventure, even though this lone spark bore little relation, musically or ideologically to the musical revolutions initiated most notably by Ghanian highlife, South African jazz, Congolese rumba or, much later on, by Fela.