This isn’t fusion. It’s ancestral alignment with a futuristic edge.

From the electrifying grooves of West Africa to the sharp truths of hip-hop, Kay’s music isn’t merely entertainment; it’s a cultural awakening. His performances are highlights: Ghanaian drums, balafon chants, and rhythmic prophecy shaking stages to their core. His storytelling is vivid, raw, and intentional. The immigrant experience reimagined through sound and soul. And as Kay says about this new single, “Moving with purpose, driven by the will to put in the work. The time is now to raise Mother Africa.”

Following his powerful debut From Back To Back (2022), Kay is stepping into full artistic clarity. In 2026, it all comes to a head with Kay’s next album, scheduled for autumn 2026, forged across borders, driven by the spirit of his Ghanaian ensemble and a love letter to highlife, elevated with modern energy.

No longer bound by survival, Kay is moving like a general of sound. Leading with grace, grounded in legacy, but always forward-moving. His shows? Think rituals. Think liberation. Think sweat, spirit, and rhythm. Kay Slice isn’t finding his voice. He is the voice of diasporic pride, ancestral rhythm, and future Africa.

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Fela Kuti in Dub takes us to one of Germanys hubs of Fela Kuti admiration: a small studio in the bluecollar district Untergiesing in Munich. This is the workspace of drummer, producer, dub fanatic, music nerd, DJ and connector: Captain Yossarian. The studio complex is home to an illustrious group of musicians: Krautrock pioneers Embryo, Poets of Rhythm mastermind Jan Weissenfeldt, Franz Ferdinands guitar player Nick Mc Carthy or local (also Fela Kuti loving) Express Brassband who all work here. Occasionally bands visiting Munich stop by, to play a hidden gig or spend a few nights here to  avoid depleting hotel costs and maybe – who knows – ending up on Fela Kuti in Dub.

Fela Kuti in Dub is Captain Yossarian’s dream come true project: It contains four essential songs by Fela Kuti and treats them in a style of a Jamaican Discomix. Think of a collaboration between Fela Kuti and King Tubby and you are close to what Captain Yossarian had in mind. The four tracks take us on a journey from Afrobeat deep into Dub. Starting out as instrumental covers the tracks evolve into full on dub versions, celebrating the musical heritage of Nigeria and Jamaica likewise.

Recorded 2024-2025 by Captain Yossarian/Manuel da Coll, Studio Katzlbaum/Munich
Mix and live dub by Seb-I/Sebastian Kellig and Captain Yossarian/Manuel da Coll, Sausage Studio/London
Premaster by Sodi Marciszewer, Zarma Studio/Paris
Master by Frederic Stader; Music Matters/Berlin

Zombie In Dub 7:55min
Prince Tempopolice (Santrofi/Ghana) – drums
Sebastian Höglauer (Kapelle So&So/Germany) – trumpet
Stefan Huber (Kapelle So&So/Germany) – horn
Niko Schabel (Radio Citizen/Germany) – alto and tenor saxophone
Jakob Lakner (YXALAG/Germany) – bariton saxophone
Steffen Müller (Connexion Balkon, Germany) – bass, rhythm guitar
Manuel da Coll (Cpt. Yossarian, Germany) – tenor guitar, drums, percussion, dubs, effects

Water No Get Enemy In Dub 8:36min
Jan Weissenfeldt (Poets Of Rhythm/Germany) – rhythm guitar, tenor guitar
Sebastian Höglauer (Kapelle So&So/Germany) – trumpet
Stefan Huber (Kapelle So&So/Germany) – horn
Niko Schabel (Radio Citizen/Germany) – alto and tenor saxophone
Jakob Lakner (YXALAG/Germany) – bariton saxophone
Steffen Müller (Connexion Balkon, Germany) – bass
Manuel da Coll (Cpt. Yossarian, Germany) – keys, drums, percussion, dubs, effects

Everything Scatter In Dub 8:37min
Sebastian Höglauer (Kapelle So&So/Germany) – trumpet
Stefan Huber (Kapelle So&So/Germany) – horn
Niko Schabel (Radio Citizen/Germany) – alto and tenor saxophone
Jakob Lakner (YXALAG/Germany) – bariton saxophone
Steffen Müller (Connexion Balkon, Germany) – bass, rhythm guitar, tenor guitar
Manuel da Coll (Cpt. Yossarian, Germany) – drums, percussion, dubs, effects

Expensive Shit In Dub 8:26min
Jimi Tenor (Solo Artist/Finland) – alto saxophone
Chris Smithson (Caravana Sun/Australia) – keys
Sebastian Höglauer (Kapelle So&So/Germany) – trumpet
Stefan Huber (Kapelle So&So/Germany) – horn
Niko Schabel (Radio Citizen/Germany) – tenor saxophone
Jakob Lakner (YXALAG/Germany) – bariton saxophone
Steffen Müller (Connexion Balkon, Germany) – bass, rhythm guitar, tenor guitar
Manuel da Coll (Cpt. Yossarian, Germany) – drums, percussion, dubs, effects

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Earth-o-Naut is a songwriter, drummer, musician and producer. He was born in Liverpool and raised in one of its satellite towns, Skelmersdale. He was raised by his mum and uncles on music from every genre, falling in love, amazement and awe with the groove and the craft of songwriting. Nothing has changed to this day.

Earth-o-Naut has worked hard for many years on his studio chops and is the writer, arranger, recording engineer, mix engineer and producer on all of his own material, and he also works with other artists as a producer.

Earth-o-Naut‘s debut album, ‘This Is Nowhere. This Is Everywhere.’ will be released in May 2026. The debut album features UK drumming legend, Steve White, and also the vocals of Amalia Estradas and Suzanne Maddock.

2026 will also see Earth-o-Naut take his songs on the road and play some live shows.

The post This Is Nowhere. This Is Everywhere. appeared first on agogo records.

Here, the band strips back from a seven-piece ensemble to its two founding members, while at the same time opening outward into a deeply collaborative space. At its centre is a close creative partnership with celebrated Nigerian highlife revivalists The Cavemen., alongside contributions from London-based, Nigerian born soul artist Azekel, Lagos vocalist Tim Lyre, and Malian icon Fatoumata Diawara.

The EP will be rolled out gradually, with each track released individually ahead of the full release in September, alongside a busy run of summer dates across Europe.

The post Be A Lover EP appeared first on agogo records.

Recorded live in South London with his tight-knit band including long-standing collaborators and UK jazz trombonist Rosie Turton, “Tum Tum Tum” is a free flowing, warm, expansive and fully assured album, his 8th to date and exudes a playfulness, a sense of someone who is truly in their element and at peace when writing and recording.

Lead track Egum Eô is a wonderfully Brazilian opening and sets the scene perfectly with MOMO.’s vocal sounding much like the album’s title Tum Tum Tum, pushing the positivity sky high in unison with a gorgeous horn hook. The broken groove slowly rolls in like a curling surf-perfect wave before the band all join the jam leaving the listener joyfully entranced.

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With sophisticated hints of música popular brasileira (MPB), Tropicália, Afrobeat, folk rock, psychedelia and jazz, MOMO.’s music has always resisted categorisation, and Tum Tum Tum is no different. The album moves fluidly between moods and registers, from the warmth of crisp basslines to frenetic percussion, and from punchy horns to floaty strings, reflecting a career spent absorbing whatever was around him, whether that was Fado in Lisbon, the Jazz scene in London, or the psychedelic currents of 1970s Brazil that first shaped him.

His hushed voice and cunningly-shaped guitar lines remain the through-line, transforming delicate melodies into the sound of an artist who has a deep understanding of his own musical identity. More than twenty years into a career, MOMO. sees this record as a tribute to these past two decades “This album is a poetic eulogy, a wink, a memory to twenty years of crafting music,” he says. “The repetition of craft, resilience and the beat of constant improvement and graft.

“This career has taken him across Brazil, Angola, the United States, Spain, Portugal and now the UK, and as MOMO. putsit, “Wherever I’ve lived, I’ve absorbed what was around me, connecting with different musical languages”. And not just musical languages, as the album is sung in Portuguese and English. Tum Tum Tum is warm, expansive and fully assured, the work of someone who has stayed close to his craft long enough for it to become instinctive and completely his own.

The onomatopoeic title represents the sound of an engine, symbolising a steady cadence that carries through geography, collaboration and change. “The title comes from this idea of continuity and resilience,” says MOMO. “Something that keeps going no matter what. It’s less about rhythm in a technical sense and more about persistence, about staying in motion long enough for the work to become instinctive and less cerebral.” Recorded in South London, the album captures a band deeply attuned to one another. Drummer Thomas Broda and percussionist Jim Le Mesurier play together in the same room, shaping a physical pulse that runs through the record. Long-standing collaborators Regis Damasceno on bass and Caetano Malta on guitar bring depth and precision, while UK jazz trombonist Rosie Turton adds expressive lift throughout. The arrangements remain open and responsive, with space, feel, and attention guiding each track forward rather than click tracks or studio polish.

Lead track Egum Eô is a wonderfully Afro-Brazilian opening and sets the scene perfectly with MOMO.’s vocal sounding much like the album’s title Tum Tum Tum, pushing the positivity sky-high in unison with a gorgeous horn hook. The broken groove slowly rolls in like a curling surf-perfect wave before the band all join the jam, leaving the listener joyfully entranced.

Guest appearances from Brazilian MPB legend Marcos Valle and Smoke City’s Nina Miranda speak to a body of work shaped through enduring artistic relationships. MOMO.‘s connection with Valle goes back several years, to his time with former band Fino Coletivo and a live recording in Rio de Janeiro. With Nina Miranda, a London-based friendship and creative partnership that grew over years of performance together finds its recorded form in “Canto de Aldeia”, a track that, in MOMO. ‘s words, “celebrates our friendship”. Miranda sings in English in an almost Jacqui McShee style, evoking real nostalgia against the band’s steady rhythm and dreamy strings.

MOMO.’s 2006 debut A Estética do Rabisco was hailed as a cornerstone of modern Brazilian psychedelia, drawing on the influence of Os Mutantes and the Tropicália movement, and over the seven albums that followed he has refined a sound that holds nostalgia and novelty in equal measure – catching the ear of icons like David Byrne and Patti Smith along the way.
His participation on A Tribute to Caetano, the 70th birthday album for Caetano Veloso, further cemented his place in Brazil’s rich musical lineage. His seventh album Gira (October 2024) was named in Mojo’s Top 10 World Music Albums of the Year and he was described by NPR as “an artist who transcends place.”

Tum Tum Tum feels assured and alive, music shaped by travel, time and accumulated experience. It carries the confidence of an artist who understands that continuity is its own form of strength. Twenty years and eight albums in, MOMO. continues forward with clarity and intent.

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Fresh from the UK performing at the Jazz Cafe and supporting Highlife legends Osibisa, Kay Slice delivers Diaspora Highlife: a sunset cocktail that feels like homecoming.

The post U DO appeared first on agogo records.

Kwame Nkrumah stands as a symbol of freedom, unity, and bold imagination, an innovator who returned from the diaspora to reclaim destiny and advance the vision of Pan-Africanism. His spirit flows through the song, reminding Africa and its diaspora of what is possible when we believe in ourselves.

Pat Thomas, “The Golden Voice of Africa”, brings over 50 years of musical legacy, grounding the track in ancestral depth and lived history. His voice bridges generations, connecting past struggles with present responsibility and future promise.

The post Kwame Nkrumah feat. Pat Thomas appeared first on agogo records.

“Notícias de Puglia” is born from physical distance and symbolic closeness. It is Brazil remembered in the details: in the sound of drums, in the sway of the body, in affective and cultural references that cross generations. On “Atabaque” Leo returns to childhood and ancestry— “Could the atabaque be me?” —linking identity, faith, and body as one.
The album balances celebration and introspection, heat and shade, party and rest. Produced by Breno Virícimo, with mixes by Tó Brandileone and Guigo Berger and mastering by Felipe Tichauer, it builds a concise, diverse sonic palette—Brazilian at its core yet open to the world. It invites international listeners to discover Brazil’s groove while offering Brazilians an immediate sense of recognition, whether through açaí, Milton Nascimento, Djavan, or the memory of “Praia Vermelha do Sul”.

With “Notícias de Puglia“, Leo Middea consolidates a new phase of his international career. After understanding his music as World Music BR, the artist has moved through world‑renowned festivals, sold‑out venues, and diverse audiences—always carrying popular culture as a point of departure. Following the release, Leo embarks on a European tour, continuing on to Canada, the United States, and Mexico. In Brazil, he returns for a special run of shows while further expanding his international presence in 2026. “Notícias de Puglia” reframes a stage of a crossing: the story of someone who saw the world, remembered home, and understood that Brazilian music — when carried with truth — speaks every language.

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In 2013, he started his own radio show »Oonops Drops«, a monthly mixtape-style show featuring a host of international top DJs, broadcast on Brooklyn Radio in New York City. This show inspired the first volume of this compilation, which was released in early 2018 on Agogo Records, alongside the album and 7-inch releases featuring artists from his radio network. Then, exactly five years ago, Oonops finally founded his own sustainable music label bearing the eponymous name.

Now, just in time for the 200th episode of his Brooklyn Radio show, Oonops returns to Agogo Records with Vol. 3, which is packed with favourites and rare gems discovered through his extensive community of like-minded collaborators. As you would expect, it includes many unreleased songs that were previously only available digitally or were
incredibly difficult to obtain on vinyl – true rarities from the crates. Expect a broad selection of genres, ranging from Japanese jazz and head-nodding beats and hip hop to samba-esque funk, rare groove, reggae and Brazilian-influenced styles. Get ready, enjoy and rewind !

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