Tribeqa
Tribeqa

40 years after the original release, Nanga Boko Records is very proud to present you the official reissue of De Bonaberi A Douala, the first album from the Cameroonian musician Nkotti François and his band The Black Styls.Limited edition, high quality remastered sound, includes a very detailed biography in both English and French languages with exclusive pictures for a better comprehension of the work of the musician, and a voucher to download the album in a HQ digital format.Approved by the artist himself, 100 % legit, all 8 tracks are under exclusive license of Nanga Boko Records.

Voilaaa is one of the many projects led and produced by Bruno “Patchworks” Hovart, who’s proven over the past 15 years, his place amongst the finest producers of groove music in all genres.This time exploring the wide spectrum of the African and Tropical Disco scene, he received a massive international support for Voilaaa’s first album, On te l’avait dit, released late 2015 on Favorite Recordings.Following to that success and pursuing the same direction combining of the festive, yet sometime futile nature of Disco, and the instinctive, deep, sometimes rough nature of African music, Voilaaa’s now presenting its 2nd efforts, Des Promesses.The 13 tracks of the album are again up to expectations, and Voilaaa has not finished feeding international dancefloors with heavy Afro-Disco music. Alongside Bruno at the production, singers Pat Kalla and Sir Jean are back providing their carefree lyrics and Afro vibes, and Senegalese artist Doctor Lass comes to extend the team, with 3 brilliant titles, including a great Funky cover of the classic “Mandjou” by Salif Keita and Les Ambassadeurs Internationaux..

After their two acclaimed edits EPs, Mister T. Records are now joining forces with LA based producer DJ Duckcomb, to deliver a groovy selection of leftfield italo-disco cuts reworked for dancefloors. One year after the release of their 2nd EP, a tribute to Brazilian music, Mister T. records are now back with a 12” EP showcasing their love for obscure disco and Duckcomb’s amazing digging skills. This record aims to be a tribute to the very special sound of the late 80s electronic music and to both the artist’s and label’s lifelong passion for obscure italo disco.Famous as a record collector, Duckcomb has also made himself a name by editing forgotten jewels from classic disco to islands reggae. Part of both duos Sharegroove and Trap.Avoid, he’s been sharing his work and latest discoveries on his bandcamp and soundcloud for years and he has already released two EPs on Universal Cave and Pleasure of Love as well as edits on Cultures of Soul and Emotional Rescue.He’s now joining Mister T. Records with a 3-track EP compilation of hard to classify, slow-tempo, disco edits. On the A-side, Duckcomb partnered up with his longtime friend and DJ partner Dino Soccio, boss of California label Pleasure of Love, for a powerful rework of the German proto-house tune “Holidays”, with a new dancefloor oriented beat and emphasized tropical influences.On the B-side, he showed his editing skills working on two obscure downtempo tracks with that recognizable late 80s melancholic atmosphere. By removing not danceable parts, building DJ-friendly grooves and removing unnecessary vocal parts, he managed to come up with a smooth italo ballad with acid accents on “S.O.S.” and a beautiful balearic new-beat jam on “King (of) a Beat”.

** Available exclusively at The Pusher **It's been a long journey for Romain Bezzina aka Zero Netcost ever since 2002 when he discovered the band that would become his favorite of all time: The British duo Bent through the amazing track "Always" remixed by Ashley Beedle.Twenty years later, the circle is complete with this compilation of remixes from all his idols including, of course, a beautiful atmospheric/downtempo remix from Bent, a cheeky mega drive mix from Simon Mills (one half of Bent), a chunky sunny remix from the legendary Ashley Beedle, and to complete this nice bunch of guys, a very nice sharp balearic remix from the amazing I:Cube. Enjoy!

** Available exclusively at The Pusher **Favorite Recordings presents Dark Is The Color, the first LP by Alan Shearer reissued on vinyl for the first time. Despite being initially composed and produced for the French library label PSI, this rare and obscure in-demand gem from 1985 sounds retrospectively like a proper album with great coherence and sophistication all along. Indeed, these 11 tracks will delight synthesizers addicts. Expect deeply emotive instrumental compositions, with ingenious analogue sequencing on stimulating chord progressions. The result is a highly retrofuturistic album, sometimes almost anticipating 90's videogames scores. Just imagine Wally Badarou in a bunker with Talking Heads watching New York 1997 from John Carpenter. Composed mostly step by step on a Sequential Pro-One synthesizer, Dark Is The Color is the product of the exciting state of mind from the 80's era with new sounds, new tools and new trends on the music spectrum. Influenced by bands like Talking Head or Japan, the sirens of the new wave scene strongly resonate here with Alan Shearer's familiarity and craftmanship with synthesizers. Back in the days, Alan Shearer aka Frédéric Viger was working for his father’s music label, “Musique Pour L'image”, and their sublabel “PSI”. He started with Marathon Life under his real name before taking the Alan Shearer monitor. These records were produced for radio, TV and cinema industries but as well for companies’ internal communication. They represented a real investment from the label and these catalogues are usually full of amazing music from great artists such as Martial Solal, Vladimir Cosma, Joël Fajerman, Harlem Pop Trotters and even Manu Dibango. About his musical illustration process, Alan Shearer tells: "Soundtracks are indeed my biggest influences and I'm a real fan of American composers as Jerry Goldsmith or Elmer Bernstein. I've always considered soundtracks as the new classical music or classical music of our century. There is a real state of mind producing music for illustration: you have to stick to the video. You should not tell what the image is saying but accompany what it is saying. You have to find a unique link, people always told me music should not be noticed for itself in a movie, that's what makes it good.”