Sourced from the analog master tapes for the first time, Sharp-Flat presents the WITCH disco albums as you've never heard them before in sleeves that replicate the original album artwork.

Over the course of the 1970s, WITCH delivered an impressive run of garage, rock and prog releases. By 1980, the band was ready for a new chapter. Shuffling their lineup and relocating to Zimbabwe, they undertook their mythical transformation into an African R&B, soul and funk powerhouse. With access to a state of the art recording studio in Harare, WITCH produced two exquisite albums from 1980 to 1984.

With crisp beats, funky bass, swirling synths and tight horns, 1980's Movin' On was a sharp departure from the group's Zamrock roots and made no bones about the fact that the WITCH was ready to embrace the sound and spirit of a new decade. Trading lead vocals with founding member Chris Mbewe are newcomers Christine Jackson and Stanford Tembo, making for a well rounded set that combines dance floor burners with mid-tempo boogie grooves. A carefully crafted, great sounding album from a seasoned ensemble, Movin' On is an African pop classic. More

Sourced from the analog master tapes for the first time, Sharp-Flat presents the WITCH disco albums as you've never heard them before in sleeves that replicate the original album artwork.

Over the course of the 1970s, WITCH delivered an impressive run of garage, rock and prog releases. By 1980, the band was ready to embrace the exciting dance sounds of a new era. Shuffling their lineup and relocating to Zimbabwe, they undertook their mythical transformation into an African R&B, soul and funk powerhouse. With access to a state of the art recording studio in Harare, WITCH produced two exquisite recordings during their disco years.

A full-throttle boogie outing, Kuomboka was issued in 1984 and features rising star Patrick Chisembele stepping in on lead vocals. Despite the album's modern vision for African pop, its title refers to a traditional migration ceremony practiced by the Lozi people of the Zambezi floodplains. The album documents a seasoned ensemble with an ambitious vision and is considered the group's sonic masterpiece. More

Mastered from the original analog tapes for the very first time, SHARP-FLAT brings you the WITCH DISCO SINGLES as you’ve never heard them before. WIT 4 carries a single edit of 'My Desire' backed with 'You Are My Sunshine' from the group's classic 'Movin’ On' LP from 1980.

By the end of the 1970s, WITCH was a Zambian music institution. Active since 1972, they had survived the Zamrock years and left an impressivegarage, psych and prog discography in their wake. But at the outset of the 1980s, the band was ready to embrace the modern sounds of a new era. Undertaking personnel changes and relocating to Zimbabwe, they were primed by the independence celebrations of their neighboring country to undertake their mythical transformation into an African disco powerhouse.

With access to a state of the art recording studio in Harare, WITCH produced two exquisite albums in the early 1980s. Appearing in 1980,Movin’ On was preceded by the single “My Desire,” which featured new member Christine Jackson on lead vocals. With an upfront funky bass-line, falsetto backing vocals, swirling synths and tight horns, it was a searing hot disco offering that made no bones about the fact that the WITCH was ready to get down. Composer/vocalist Stanford Tembo’s mid-tempo burner “You Are My Sunshine" was the perfect fit for
the flip.

Documenting the band’s drift from disco into boogie, WITCH’s final album Kuomboka was released in 1984 without an accompanying single. New lead vocalist Patrick Chisembele injected youthful energy and a modern soul edge, most notably on “Erotic Delight” with its crisp drums, slinky keys and intoxicating bass groove. Pop reggae was alson within the album’s stylistic purview by way of the closer “Jah Let the Sunshine” as well as “Change of a Feeling,” the flip side of a recently discovered single that wasn’t originally released. More

Mastered from the original analog tapes for the very first time, SHARP-FLAT brings you the WITCH DISCO SINGLES as you’ve never heard them before. WIT 5 hosts a single edit of “Erotic Delight” from the band's 1984 album Kuomboka backed with “Change of a Feeling,” an unheard WITCH track released for the very first time.

By the end of the 1970s, WITCH was a Zambian music institution. Active since 1972, they had survived the Zamrock years and left an impressive garage, psych and prog discography in their wake. But at the outset of the 1980s, the band was ready to embrace the modern sounds of a newera. Undertaking personnel changes and relocating to Zimbabwe, they were primed by the independence celebrations of their neighbouring country to undertake their mythical transformation into an African disco powerhouse.

With access to a state of the art recording studio in Harare, WITCH produced two exquisite albums in the early 1980s. Appearing in 1980,Movin’ On was preceded by the single “My Desire,” which featured new member Christine Jackson on lead vocals. With an upfront funky bass-line, falsetto backing vocals, swirling synths and tight horns, it was a searing hot disco offering that made no bones about the fact that the WITCH was ready to get down. Composer/vocalist Stanford Tembo’s mid-tempo burner “You Are My Sunshine" was the perfect fit for
the flip.

Documenting the band’s drift from disco into boogie, WITCH’s final album Kuomboka was released in 1984 without an accompanying single. New lead vocalist Patrick Chisembele injected youthful energy and a modern soul edge, most notably on “Erotic Delight” with its crisp drums, slinky keys and intoxicating bass groove. Pop reggae was also within the album’s stylistic purview by way of the closer “Jah Let the Sunshine” as well as “Change of a Feeling,” the flip side of a recently discovered single that wasn’t originally released. More

As the comprehensive overview of Zambia’s premier garage-, psych-, prog-, funk-,afro-rock ensemble 'Witch, We Intend To Cause Havoc!', is now sold out in its 6LP box set form, Now Again is making the first four Witch albums available in their archival reissue form ! Witch's musical arc is contained to a five year span and, in retrospect, is a logical one. The band’s first two, self-produced albums - released in unison with the birth of the commercial Zambian recording industry – are exuberant experiments in garage rock, and are as influenced by the Rolling Stones as they are James Brown. More

Happa kicks off the year with the third 12” on his PT5 imprint and the first of several releases planned for the mercurial Leeds producer in 2017. Lead track “Bum Trance” pitches futurist Drexciya synth optimism against frantic metallic drum programming adding another level to Happa’s increasingly diverse production armoury. Intense punk techno monster ’Hallunciations” first appeared in 2015 on various mix tapes and radio shows and now appears in it’s full release to complete the 12”. More

Fresh from the success of last years critically acclaimed PT 1 EP, Leeds-born Samir Alikhanizadeh aka Happa, is gearing up for the hotly anticipated release of PT 2, a 3 track EP and the second in a series of releases on his own label PT 5. Having first drawn attention with his tumbling remix of the Four Tet track Jupiters, it wasn’t long before he was heralded by the likes of Radio 1’s Mary Anne Hobbs, James Blake, Zed Bias and Skream, to name a few. Happa’s love for electronic sounds is no more evident than on his latest offering; surging ahead at a faster pace than PT 1, with nods to EBM and industrial along the way. Opening track Blackberreh! marks a sideways move away from its predecessors. With spikey glitches, pitch-bending beats and extra melodic attention paid, the track plays out across a dark soundscape, creating an all-embracing big room noise. Catch-22 takes things further with abrasive beats and aphotic vocals giving it a brutal, industrial quality, and acts as the perfect showcase for Happa’s wayward electronic tastes. Closing out the EP is Drag, a juggernaut of refracted beats, displaying admirable depth and a real techno assault. If PT 1 was the product of a young artist refining his sound, PT 2 is the bass-heavy, hypnotic call to arms of an artist with enough raw talent and perseverance to create something truly astounding. More

You might have heard of Happa by now. He’s the Leeds native who first burst onto the electronic scene in 2013 with his blistering 12”single “Beat of the Drum/ Bring It Back”, the wildly precocious teenager (also known as Samir Alikhanizadeh) who won instant fans in the likes of Mary Anne Hobbs, Loefah and even Four Tet, the one who scorched a trail with his dark, bass-heavy sledgehammer house, which sounds quite unlike anything else out there right now. Starting with the urgent, unnerving undertow of “Chewy Teeth”, it becomes abundantly clear that the last three years have seen a qualitative axis shift for Happa; his aptitude at marrying pounding beats with dark, ominous landscapes has been sharpened to a knife edge, his way around a foreboding bass has become laserlike. “Ascension” takes things even further, with surging beats and rattling vocal declamations threatening to send the entire track skittering out of control. Closer “Crickets” with its throbbing, subterranean pulse slowly opens out into a refracted strain of house at its most urgent and unnerving. “Part 1” is the sound of a young artist refining his sound, with an unerring instinct for the jugular, and many more surprises up his sleeve. You’ll be waiting on tenterhooks for the next installment. More