Cerca:banda sonora

Con todo el freestyle que el funk puede tener Igor Gil conocido como Mailu nos entrega su debut álbum en 12” “Martian Princess Arrives”
Nada nos hace más felices en Sofa Tunes que descubrir nuevos artistas al gran público, aunque Mailu ya es de la casa hace muchos años. Las primeras impresiones sobre la tierra de esta ordinaria princesa marciana están recogidas en clave de funk electrónico en un maravillosos 12” cuyo artworks corre a cargo de la ilustradora Elena Vera. Una plástica más propia de Herbie Hancock, Clavinet o Rhodes, Slap Bass son los ingredientes que Mailu este maravilloso teclista ha utilizado para poner banda sonora a este aterrizaje marciano.
Esta colección de 10 tracks nos trasladan al lounge bar más bizarro de la galaxia. 10 temas con abruptos finales extraidos de los cálidos lives del artista navarro.
1er Single: Que asco “Original Mix”

Paul Hammock es el artista por todos conocido como Cignol, sin lugar a dudas uno de los genuinos revolucionarios dentro del sonido electro de la última década y media. Sus trabajos llevan surcando nuestros Technics desde 2008 a través de los sellos de vanguardia electrónica del nuevo milenio.

En su decimocuarta referencia en vinilo, el sello Valenciano HC Records, tras una imparable y ecléctica línea editorial, publica el nuevo trabajo del genio de Dublín titulado Binary Choices. Un maxi en el que nos domina un profundo sentimiento de melancolía cósmica a través de cuatro cortes que nos sumergen en una odisea espacial.

Adentrarse en cada corte del vinilo es como viajar hasta diferentes cuerpos celestes y dejarse sorprender por su atmósfera ensoñadora, y es que solo es necesario que transcurran 58 segundos de Binary Choices, primer corte de la cara A, para sentirnos arropados por un sentimiento de suma nostalgia, alegría y futurismo. Una inteligente combinación de pads, sintes y brillantes percusiones que nos adentran en un astro inexplorado repleto de extrañas vegetaciones, increíbles seres multicolores y horizontes infinitos que activan nuestra sinestesia.

Un emocionante, decidido y contundente ritmo 4x4 a baja velocidad nos traspasa el alma al surcar la superficie de Broken Circle. Un recuerdo olvidado en forma de aterciopelado sonido se crea frente a nuestros ojos en la consecución del compendio de melodías intimistas que componen sus 4:14 minutos, en los que encuentra sosiego nuestra mente y bálsamo nuestro alma.

La cara B del vinilo regresa al cristalino, eléctrico y veloz ritmo roto con Momentum Gateway, track en el que sus dominantes y ácidas cadenas de bajos se enrollan y juegan en sincronía perfecta con sus diferentes capas de teclados y su vibrante e iridiscente pad.

En el último planeta al que nos transporta Cignol, suena en cada uno de sus parajes Validity Movement, track con el que nos dejamos guiar por su grueso y áspero bajo principal, que contrasta con los delicados sintes y atmósferas que lo rodean. Una experiencia sónica tan delicada, íntima y eficiente que podría servir tanto como banda sonora en la creación de un nuevo universo como en la contemplación de su ocaso final.

Finalmente, por un lado, el trabajo de master del lanzamiento ha sido llevado a cabo por Steve Voidloss en Black Monolith Studios en Londres y, por otro, Dani Requeni completa esta obra con la dirección del arte gráfico de la misma.

This curated collection highlights hard-to-find salsa 45s from the Discos Fuentes vaults-deep cuts that have long flown under the radar but still light up dance floors today. These tracks, once pressed in small numbers, feature top tier musicianship, fiery brass, unforgettable grooves, and lyrical gems that reflect the rich diversity of Colombia's musical landscape. Among the featured artists are: Super Combo "Los Famosos" with their irresistible barrio anthem 'El Bailador de la esquina', capturing the spirit of Cali's street life, Sexteto Manaure, delivering a poignant son that blends regional pride with poetic nostalgia, La Protesta de Colombia, a revolutionary Barranquilla outfit that gave a young Joe Arroyo his early spotlight and channeled the rebellious pulse of the times. This compilation also includes a range of studio experiments and covers-where artists like Piper Pimienta, Galileo y Su Banda, and La Integración reimagined beloved hits, from boleros to vallenatos, through a distinctly Colombian salsa lens. These obscure gems, long scattered across dusty crates and forgotten jukeboxes, now find new life. They speak not just to the past, but to a timeless rhythm that still moves dancers and dreamers alike.

A selection of 24 Colombian cumbia bangers for the dance floor from the deep vaults of Discos Fuentes, the most emblematic and best remembered label in the golden age of the genre. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns. Double LP. The historical origins of cumbia in Colombia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together. The main record companies in Colombia such as Discos Fuentes, Discos Tropical, Sonolux, Zeida-Codiscos, Silver, Ondina, Discos Atlantic, Vergara and Curro were created between Barranquilla, Medellín, Cartagena and Bogotá from 1936 to 1954. All of them, without exception, recorded Colombian tropical music that over the years was given different names such as porro, gaita, fandango, paseaito, merecumbé, mapalé, bullerengue or, of course, cumbia. This first volume in the series “Cumbia Cumbia Cumbia!!!” comprises 24 Colombian cumbia bangers for the dance floor from the deep vaults of Discos Fuentes, the most emblematic and best remembered label in the golden age of the genre. This is complemented by a selection of cumbias recorded by the label Discos Tropical, which sold most of its catalog to Discos Fuentes in 1990. Discos Fuentes concentrated on recording cumbias played on the accordion and by orchestras and ensembles. The label produced a prodigious number of albums devoted to cumbias between 1962 and 1979, which served to define ambiguous stereotypes, rooted as much in authenticity and modernity as in demure sensuality and joyful nostalgia. “Cumbia Cumbia Cumbia!!!” combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns.

"Espontaneamente se Tenta: Aventuras Sonoras de Djalma Corrêa is an album of deeply exploratory pieces by legendary percussionist and composer Djalma Corrêa. This double-LP set features previously unreleased recordings that cover a wide range of sonic experiments, revealing an unknown side of the prolific and groundbreaking Brazilian artist. Most of the tracks on this album were digitized for the first time – directly from the original tapes – and were compiled in collaboration with Corrêa just before he passed.

The result is a wild and unsettling collage that shows us just how original and intense Corrêa could be: from the unorthodox electroacoustic piece Evolução (Para Fita e Filme), which channels ancestral African inspirations to create a sonic cosmogonical narrative, to the proto-mixtape Exemplo de Sintetizadores, in which he transitions from transcendental drones to astral cha-cha-chas.

While the compilation might seem disjointed at first listen, it is in fact the most accurate translation or representation of his central concept: spontaneous music. Djalma's relationship with sound was always guided by his fearless approach to listening, and by his audacious and dynamic interaction with both musicians and equipment, which enabled him to work across a wide array of genres: from jazz to completely abstract music, always through a personal DIY ethic.

Corrêa developed a strong bond with experimentalist and inventor Walter Smetak, with whom he shared a studio during his formative years at Universidade Federal da Bahia. Suite Contagotas, featured in this collection, is no less than a sonic materialization of that bond: an experiment revolving around dripping water and its randomness – a tentative exploration of the ideas and possibilities envisioned by Smetak for his audacious, albeit unrealized, Estúdio OVO.

Djalma, however, is best known for his studio work in historical albums, including many by Caetano Veloso, Gilberto Gil and Jorge Ben, and for his own polyrhythmic opus Baiafro. The last track is an early recording called Bossa 2000 dC, first performed by Djalma at the 1964 Nós, Por Exemplo concert, an event which is often cited as marking the beginning of the Tropicalia movement. At the time, he was the only artist in the lineup using electronic devices to create sounds, e.g. medical oscillators and contact mics to augment his percussive palette.

The artwork is an amalgamation of material found in the Djalma Corrêa Archive (currently managed by his son Caetano Corrêa) and other material created during the period in which the record was being put together. The intention is to guide the listeners through this possibly tempestuous soundscape, giving them additional resources so that they may draw their own meanings and make their own sense of this extremely immersive and original experience – which is like nothing we've ever heard before."

First solo LP by the talented Peruvian artist Betico Salas, lead trumpet player of the great Sonora de Lucho Macedo, one of the best ensembles playing Cuban repertoires in the early '60s. This 1966 album features Alfredo Linares on piano and sonero vocals by Benny del Solar, and combines a mix of guarachas, guanguancó and even cumbias. Betico Salas would later release two more albums and become a legendary trumpet player in Peruvian musical history. First time reissue.- DETAILS: Alfredo Linares on piano and sonero vocals by Benny del Solar stand out on this album. Benny del Solar sings lead vocals on the cumbia of Argentine origin 'Nos vamos a casar'; the Colombian 'Lo que pasa es que la banda está borracha', a continental hit since the early sixties; the guaracha 'A los muchachos de Belén', by Puerto Rican musician Tito Rodríguez; the guaracha 'Ritmo del amor'; the elegant Cuban guaguancó 'Así namá', also well known for Tito Rodríguez's rendition; and the cumbia 'Qué le digo a mi mujer'. Singer, César Gonzales, who would have an extensive career in Peruvian tropical music, sang lead vocals in the guaguancó by the Sonora Matancera 'Lindo Omelenko' and the bolero 'El árbol', a hit for the singer Roberto Ledesma, also recorded that same year by Peruvians Carmita Jiménez, Anamelba, Raul del Mar and Lucho Macedo himself, who decided to sing for his new record label. The mythical singer Johnny Arce, years later known as Mr. Macondo, also appears on the album on the two guarachas: 'La renga', a composition by Esther Forero, known as La novia de Barranquilla; and 'Yo soy candela', a composition by the Colombian Ray Rodríguez. Finally, 'La chola' is a cumbia by Peruvian composer Tomás Benítez; and 'Mambo Jazz' is a version of the descarga 'Yayi's instant mambo', an innovative instrumental track performed by Puerto Rican Willie Rosario, who recorded it in the United States at the start of 1966 with his own orchestra. Betico Salas would later release two more albums and become a legendary trumpet player in Peruvian musical history.