First home of MF Doom. Funny, and way ahead of its time.
Kausing Much Damage; a positive Kause in a Much Damaged society.

The Ethiopians’ Slave Call LP and two Freddie McGregors — Mr McGregor and Showcase aka Lover’s Rock Jamaica Style — plus a dazzling haul of singles from 1978, revealing Niney at the peak of his genius, and easily worth the dough by themselves.

From one of his most creative periods, leading the Vibration Society — Ron Burton, Dick Griffin, Jerome Cooper and co — through one-of-a-kind, freewheeling, radiant wonders like The Inflated Tear (about his going blind) and Volunteered Slavery. Stevie’s My Cherie Amour pops up, trailering next year’s Blacknuss LP.
Kirk called it all ‘black classical music’.

Dubwise remixes; maximum dancefloor pressure.

‘Elegantly combines the delicacy of classical Arabic music, the raw expressiveness of Egypt’s countryside music, and the spontaneity of free improvisation, carefully obliterating the artificial separation between acoustic and electronic instruments. Despite the remarkable absence of any percussion or drums, The Handover is an extremely groovy band, with an ability to slow down and accelerate the tempo in almost telepathic synchronization at exactly the right moments.
‘Alongside the tight ensemble playing there is plenty of room for individual expression as the oud, synthesizer and violin take turns playing solos on top of repetitive riffs. Native Alexandrian Ayman Asfour plays violin with breathtaking beauty, not afraid to make it buzz, squeak and rattle. Belgian/Norwegian keyboardist Jonas Cambien makes the synthesizer a melodic instrument in its own right, at times evoking almost classical Maqam, at other moments coming straight out of an Egyptian wedding. The oud forms the backbone, as Aly Eissa’s solos guide the listener from minimalist, meditative drones, to a compelling climax, and back to earth.
‘There is much more to The Handover’s sound than the obvious references to Arabic and Egyptian music. The opening drone section of the album is pushed towards abstraction and even noise, and the vintage Farfisa organ gives the music a touch of 70s psychedelic rock. The repetitive riffs can be reminiscent of Embryo’s experiments combining krautrock with influences from the middle-east, but the use of repetition to induce trance dates way back in Egyptian music, and is present in many rituals like Sufi and moulid celebrations. The composed melodies on this album couldn’t be possible without Eissa’s deep love for this music. And what The Handover does with this composed material couldn’t be possible without three strong individual voices, their love to play music together and their dedication to push the traditions forward.’