[engl] For many decades until quite recently, little was known about music from Burkina Faso (which was formerly known as the Upper Volta). It is still one of the lesser known forms of popular music from West Africa. A few years before the country changed its name to Burkina Faso, thanks to Thomas Sankara’s dream of a new society, Voltaic music emerged as some kind of true cultural revolution in the wake of the country’s independence in 1960. Remote, poor and isolated, Upper Volta musicians coveted the orchestras and artists from abroad while creating a music of their own, based on rich cultural traditions. Popular music that sprung up from Burkina Faso owed much to the music from neighboring countries like Mali, Ghana, Ivory Coast or Benin, and to the longing for “cultural authenticity” conveyed through Guinean music. In capital city Ouagadougou, as well as in Bobo-Dioulasso (Burkina’s cultural capital until the 1980s), the first two decades of independence saw the upcoming of such orchestras and artists as Amadou Balaké, Georges Ouedraogo, Volta Jazz, l’Harmonie Voltaïque, Les Imbattables Léopards, Abdoulaye Cissé, Tidiane Coulibaly or Pierre Sandwidi. Nicknamed “the troubadour from the bush”, Pierre Sandwidi stands as one of the finest Voltaic artists from the 1970s. He belonged to an unsung elite of Francophone artists such as Francis Bebey, G.G. Vickey, Amédée Pierre, André-Marie Tala, Pierre Tchana or Mamo Lagbema. His entire released output consists of less than ten 7 inches, two LPs and a bunch of cassettes. A man from the provinces, he always favored social engagement and carefully crafted lyrics over instant fame. His words and music challenged General Lamizana’s dreary presidency, which ruled the country from 1966 to 1980. Born in 1947 in Boulsa, a small village in central Upper Volta, Pierre Sandwidi studied at the Zinda Kaboré high school in Ouaga in the early 60s. He learned to play the guitar, like many other young men of his generation, influenced, among others, by pioneer Beninese folk singer G.G. Vickey. After graduating, he worked for some time as a nurse, before applying for a job at the national radio – while developing his guitar abilities. Along with his friends Jean-Bernard Samboué, Abdoulaye Cissé, Oger Kaboré, Joseph Salambéré or Richard Seydou Traoré, he was part of the “vedettes en herbe” movement. Their songs were played on the national radio before even getting the chance to be released on a single, recorded live in the studio – a straightforward technique favored by most Voltaic musicians over the decade. In 1970, Pierre Sandwidi traveled across the country, working for the state and learning much from the Upper Volta’s many cultures and history. Involved in trade unions, he followed his own musical path. He observed changes at stake in his native country. In 1971, he won the first prize in the ‘modern singers’ category of a national competition. He also joined as a guitar player the National Ballet of Upper Volta, modeled after Guinea’s “African Ballets”. With them, he traveled to Niger, Ivory Coast and Benin, before visiting Canada in 1973. Back home, he met Bobo-Dioulasso cultural entrepreneur and Volta Jazz boss Idrissa Koné, who offered him to record a few songs for his own imprint, Disques Paysans Noirs. Sandwidi then delivered Lucie, a romantic song in the classic mandingo vein (‘diarabi’ or ‘love song’), while combining Afro-Cuban influences (by way of Congo) with French songs. He only had his bicycle and a guitar to conquer his young love, while others drove cars or rode motorbikes. Penniless but full of love, he walked in the steps of both Abdoulaye Cissé’s L’homme à la guitare and Amadou Balaké’s Bar Konon Mousso. As a trade unionist and a member of the African Independence Party, he opposed General Lamizana’s politics, denouncing the lack of morality and the corrupted new administration in Ouagadougou, while praising the virtues of the working class and the wisdom of farmers. In 1975, Pierre Sandwidi recorded two more singles at the Maison du Peuple for CVD (Compagnie Voltaïque du Disque). Using an Akai recorder as a soundboard, he was backed by Super Volta’s mighty guitar player Désiré Traoré. In spite of such a raw recording environment, his mature voice revealed new harmonic possibilities. In 1976, he recorded 3 more 45s with L’Harmonie Voltaïque as a backing band. Tond yabramba (“Our ancestors”) was the peak of this fruitful collaboration. A sinuous organ allowed Sandwidi to reach new heights, with a stunning melody that became instantly familiar. Recounting his country’s chaotic history, it stood as one of the continent’s best political songs. A true lesson of history, this song has been played enough on the radio to gain cult status. On his next single, Sandwidi sang about rural migration to the city, especially Ouagadougou. A true anthem, Ouaga affaires was another instant classic favored by the Voltaic audience. In the same vein, Je demande ma démission is one of his most beloved songs. A fine observer, Sandwidi tackled the fast evolution and modernization of the Voltaic society. In 1977, he delivered the amazing Yamb ney capitale (“You and your capital”), one of his best songs, with masterful guitar by Super Volta’s Désiré Traoré. Once again, he fought against ailing morality and rising individualism in the country’s capital. Sandwidi praised the virtues of country dwellers, enhanced by Ghanaian lo-fi keyboards wiz Father Ben. The b-side Mam ti fou is another instant classic, dealing with the loss of identity and an ever-increasing race for profit. This single sold over 3,000 copies, a true achievement in one of the world’s most destitute countries. In 1979, while in Abidjan, Pierre Sandwidi recorded his first full length LP with the help of Voltaic Prince Edouard Ouedraogo. It confronted once again his country’s true state of affairs. He launched his own ‘callao’ dance, as a homage to this Sahelian bird that bounces instead of walking. A standout track, Boy cuisinier dealt with the adventures of a cook confronted to European stark realities, with synths on the brink of collapsing, in a Bebey or Onyeabor mode. Confronted with many temptations, Sandwidi sang about his will to stay true to his values, being first and foremost an African; a genuine plea in those harsh years. A true callao song, Marietou sounds like genuine French Sahelian pop. It was released on Kouri Productions, his own label. The b-side Missie Issa denounced nepotism and corruption. With the help of his Super Volta friends, among which guitar player Zon Boukary, rhythm guitar player Tiemoko ‘Pacheco’ Traoré and Father Ben on keyboards, Sandwidi produced his second LP in Ouagadougou. Troubadour de la savane is a vibrant testimony of the Upper Volta, just before Thomas Sankara’s revolution changed the country’s name to Burkina Faso. On Fils du Sahel, Sandwidi delivered a true political slogan : “Friendship and solidarity in peace and justice.” On a more romantic note, Je suis un salaud is a deep, heartfelt Sahelian ballad – one of the key tracks from this album and one of his most cherished songs to this day. During the Sankara years (1983-1987), Sandwidi took part in the cultural animation of his neighborhood as a militant of the mighty CDR (Comité de Défense de la Révolution). After Sankara’s fall in 1987, Sandwidi distanced himself from politics, focusing on writing new songs and plays. In 1995, he delivered his last piece of music: Cousin Halidou, released through Moussa Kaboré’s Bazaar Music. Being of fragile health, Pierre Sandwidi passed away in 1998, leaving a beloved and dedicated family behind. His funeral had a national echo, while new generations are slowly rediscovering a great body of work. Sandwidi used to tell his family that one day, some interest would come from abroad regarding his artistic legacy. Twenty years after he died, this compilation stands as a vibrant tribute to one of West Africa’s most outstanding and adamant artist.

[engl] What is the size of the night? How can we measure the night? The night is a very personal moment. It can be majestic; spent indulged in love and joy or terribly frightening; filled with nightmares and fear. The size of this moment is hidden in the details that shake our bodies and keep our hearts beating. In this album we took off the darkest and most mysterious part of our persons and transformed it into songs. We don't have instructions to not make mistakes or not hurt people around us or to love in the most proper manner. We just live. We do good and bad. Sometimes we learn but often we don’t, and simply go ahead doing mistakes. We're complex. We can act stupid and feel lost inside. We can miss each other yet not talk to each other when we're together. This album express this new consciousness we found ourselves exploring throughout these past months. There are some very serious songs and others seem surreal, but each one of these creations form The Size Of The Night in it's greatness and in its darkness. Through this album we’re trying to accept that we can be very sensitive people and at the same time we can be asshole. And that it’s alright.

[engl] Hand of an avaricious and thoughtless Man Dark and melodic punk at its best I guess only Canadians can excel in! Eric and Ilisha of Feral Trash have teamed up with their fellow citizens Erin (Black Tower) and Tim (Mother's Children) to form the perfect dark pop punk rock band. It's pretty much a mix of said bands, so you'll get superb and catchy songwriting mixed with powerful downstroke guitars and male/female vocals that'll give you goosebumps all along the way. We are very excited to release this killer album together with Dirt Cult Records as our rst album of 2018 - And it raises the bar pretty high...

[engl] The fourth of four EP's being released for the upcoming full-length record "Being Empty : Being Filled" Two brand new Listener songs. Limited edition (500 copies) 7' white vinyl record.

[engl] Eddie Roberts started his music career in 1989 aged 18, having left his Welsh homeland to study Jazz at Leeds College of Music. More interested in live performing and getting his own thing going than in college work, he quickly rooted out the best players in town and set up his first band, The Jazz Mailmen, dedicated to playing the golden era of Art Blakey's Jazz Messengers. After transcribing all the parts and enforcing a dress code of Bop suits, he set about taking the UK Jazz Dance scene by storm. During this time British Hard Bop legend Tommy Chase asked him to relocate and join his band, but Eddie had other ideas. Following his early bands The Eddie Roberts Organisation and The Three Deuces Eddie's focus shifted towards Deep Funk, the New Mastersounds were born and released their first album on Keb Darge’s Deep Funk Records. The rest is history, with six full albums recorded and an impressive history of live shows around the world. Eddie's love for 60s Blue Note & Hard Bop didn't waver despite the media hype of the Deep Funk scene. Soon Eddie was commissioned to produce a Hard Bop track for the Jazz dancers to go on Adrian Gibson’s renowned 'Messin Around' compilation. This project turned into the „Roughneck“ album, released summer 2004 on the NMS’ One Note Records label. "Trenta", released early 2007 on Salvo’s Records, features instrumental arrangements of traditional Neopolitan songs. Eddie stayed busy that year playing with Papa Mali, Johnny Vidocavitch, Idris Muhammed and The Greyboy Allstars. „Is that all?“ Eddie Roberts asked in 2009 and the answer was simple: No! Légère Recordings had a good look on Eddie’s extensive back catalogue and released „An Introduction To Eddie Roberts“, showcasing his work from the early days up to the present. Following the releasse The New Mastersounds played their first German shows since many years. When in Spain during the same year Eddie joined forces with The Sweet Vandals’ rhythm section, adding Chip Wickham’s (Nightmares On Wax, Rae & Christian, The Pharcyde) world-class flute and Taz Modi’s funktastic organ from Leeds/UK, and he sensed that this could be the beginning of something special. „Burn!“ is the proof that his feelings were true. The Fire Eaters, as the combo was now called, recorded the album produced by Eddie Roberts himself in 2010, completed 12 tracks including a good number of Eddie Roberts originals as well as their versions of classic acid jazz & soul tunes like „I Believe In Miracles“, the „Lope Song“

[engl] The soul singer and songwriter based in England known as Myles Sanko released his debut “Born in Black & White” to broad critical and fan acclaim in 2013. Featuring seven original funk and soul tracks written and performed by Myles himself, this EP was perceived and played in the style of soul greats such as Bill Withers, Otis Redding, Al Green and James Brown, all of whom Myles openly names and proudly as his main musical influences. A stop-to-finish work of deep grooves and jazzy musical knowledge, Now “Born in Black & White” is followed up by Myles Sanko’s first full-length album “Forever Dreaming”. Dubbed as the lovechild of soul music, Myles Sanko began his music career by singing and rapping alongside disc jockeys in nightclubs. He has fronted popular bands such as Bijoumiyo, plus working with funk kings Speedometer who were touring with James Brown's 35 years soul sister Ms Martha High. “My intention,” writes Myles, “is to produce music with a feel good vibe and lyrical content that makes my listeners think.” In order to select an appropriate collection of compositions for professional recording in the studio, Myles uploaded live videos of himself giving acoustic performances to the internet. He then invited his bevy of fans throughout Europe to give their opinions regarding which tracks would best fit his debut EP release. This interactive spirit, which has guided Myles's solo career to date, reveals much about his humanist spirit, genial character, and artistic integrity. “I want my music to be a place to feel alive,” says Myles Sanko. “True motivation is the reaction I get from my audience when I perform, and I intend on making music that I love listening to. It’s the only way to stay authentic and to not lose yourself in all the other musical influences out there.” With his eight piece band Rick Hudson (drums), Neil Cowlan (guitar), Tiago Coimbra (bass), Tom O'Grady (piano/Rhodes), Neil Penny (trumpet), Matt Mckay (saxophone/flute), Tom White (trombone) and Ric Elsworth (percussion) Myles Sanko 10 versatile compositions Myles wrote with his longtime songwriting partner Thierry Los from France. Styles are ranging from the melodic soul-jazz oft he title track „Forever Dreaming“ through the spiritual acid jazz of „Take A Look At Me Now“ to the energetic soul dancer „Shooting Star“.

[engl] „Good Feeling“ marks the return of Jay W. McGee, one of the most interesting voices from the disco and boogie era of the mid and late Eighties. This abum is Jay W. McGee’s first new recording since his last release more than 25 years ago, covering a selection from boogie to soul and from disco to gospel. The vocals for „Good Feeling“ were recorded in Jay W. McGee’s hometown of Flint/Michigan, while the music was recorded and mixed in Hamburg by up and coming production team The Unbelievable Two. Releasing on various independent labels, Jay W. McGee came up with two albums („Over & Over“ in 1981 and „Survivor“ in 1988), accompanied by a couple of cult 12inch singles which still feature on genre radio and DJ playlists around the world. „Turn Me On“ has been officially re-issued by Légère Recordings in 2013, while „When We Party“ is still a firm favourite among connaisseur DJs. Jay W. McGee started singing gospel music when he was four years old. He toured with a number of funk & soul bands through the USA and Canada during the Seventies and made some great recordings that still have a fresh impact. With „Good Feeling“ he goes for an up-to-date production with true respect of his roots, aiming on the dancefloor and the mind. All ten tracks are new and original compositions by Mr. McGee himself and the production team of Julian „Mzuzu“ Romeike and Matthias „Mucka“ Morgenroth, also known as „The Unbelievable Two“. The styles range from the colourful disco-soul of „Whole Lotta Talk“, the lo-down sexy groove of „Make Time For Love“, the crazy jazz-funk of „Look Here In My Heart“ to the sweet gospel soul of „Do It Right Now“.

[engl] It´s Brian Hildebrand (DEMON'S CLAWS, MIND CONTROLS, GENITAL HISPOITAL) from Montreal, Canada. Running since 2009 he did three, quite limited 45s we love to death. Now Mathieu Blackburn joined for a rage of a punk album. The piece of vinyl is sheer lo-fi KBD madness and has eleven bone-crushers, including cover versions of THE MAD and RED SQUARES. For years, "They Want My Blood" was our favorite unreleased track. We can´t believe it´s finally out on ALIEN SNATCH! wax now! Strictly limited to 500 vinyl only copies. Artwork by Darren Merinuk