Suche:azul

Hyldon, Brazil’s highly revered vocalist, musician and producer, has partnered with Adrian Younge to create a new psychedelic soul album, HYLDON JID023. The duo, highly inspired by Hyldon’s seminal work in the ‘60s and ‘70s, revisits’ the spirit of this epoch while creating a modern-day classic. Hyldon’s unique voice and lyrical depth, combined with Younge’s innovative analogue production, ensures this album will not be forgotten. JID023 is one of the last recordings featuring Hyldon’s long-time collaborator and friend, the late drummer Ivan “Mamao” Conti of Azymuth.

Hyldon, a musical pioneer and early contributor to the “Black Rio” movement is a genius in synthesizing the sounds of MPB, Tropicália and Black American R&B. His unique voice, coupled with his rich arrangements and laid-back grooves set him apart from the contemporaries of the time. In ’75, his remarkable debut album, Na Rua, Na Chuva, Na Fazenda changed the sound of Brazil forever. Hyldon’s earnest and experimental approach in creating that album served as the inspiration for Younge’s production on the new JID023.

Months before Mamão's untimely passing, Adrian Younge and Hyldon invited the legendary drummer to join them at Younge’s Linear Labs studio in Los Angeles. Mamão and Hyldon shared a rich musical history — Azymuth, Mamão’s group, served as the rhythm section for much of Hyldon’s work, including his iconic 1975 LP, Na Rua, Na Chuva, Na Fazenda. Their goal was ambitious: to craft an album that would stand alongside Hyldon’s finest achievements, one that would captivate fans who love his unique blend of psychedelic and soulful “Música Brasileira.” The result is nothing short of remarkable.

“Producing a Hyldon album was a dream come true. I’ve studied his catalogue for so many years and highly respect the way he mixed the sound of The Beatles, with that of Marvin Gaye and Tim Maia. I’m still enamored by the fact that he is even a better singer now than he was, in what many deem, his prime. Also, we greatly miss our dear friend and contributor Mamão, the late drummer of Azymuth. We dedicated this album to his memory, and we wish he could have had the chance to hear the finished album.” – Adrian Younge

Songs such as “Olhos Castanhos” evoke the ethereal nature of The Beatles “Strawberry Fields” as the mellotron flutes and Hyldon’s vulnerable performance captivates our hearts. Mamão’s gritty and funky drumming on “Nhanderuvucu (The Creator of God)” showcase what made him a leading pioneer in Brazil’s samba funk scene. Apart from the remarkable drumming, multi-instrumentalist Younge accomplishes the unthinkable by playing every other instrument on JID023. The experimental fusion of horns, analog synthesizers and acoustic instrumentation on songs like “Viajante de Planeta Azul” take listeners on a funky journey to the blue planet; a fictional space that Hyldon lyrically describes with passion and conviction.

Hyldon JID023 is an unexpected, yet remarkable addition to the canon of Brazilian Music. Hyldon’s emotional resonance, coupled with Younge’s sophisticated production and Mamao’s outstanding drumming make this a standout album within the deep catalogue of Jazz Is Dead.

Grammy-nominated Canadian ensemble BADBADNOTGOOD present the latest edition of Mr Bongo’s iconic Brazil 45 boxset series.
Hailing from Toronto, the band, which now consists of Alexander Sowinski, Chester Hansen and Leland Whitty, made its name by crossing genres and developing a distinctive amalgamation of jazz, hip hop and psychedelic grooves. Their rise to the forefront of their scene has led to collaborations with icons such as Tyler, The Creator, Kendrick Lamar, MF Doom, Samuel T. Herring (Future Islands) and Ghostface Killah. With a penchant for an earworm hook, their sound takes cues from across the globe, both past and present, not least from the wealth of music that has emanated out of Brazil over the last 70 years.

Beatmakers, musicians and record collectors at their core, the influence of Brazilian music on BADBADNOTGOOD’s productions is clear to see, with previous collaborators including Arthur Verocai and Tim Bernardes. It seemed only right then, to hand them the reins for the next edition of our signature boxset series. As ever, the brief was simple, compile a selection of your favourite Brazilian cuts from the country’s rich musical makeup. A captivating collection of sought-after tracks crossing genres, decades and tempos, offering a glimpse into BADBADNOTGOOD’s eclectic tastes, whilst exploring ever further the richness of Brazil’s musical history.

Rita Donte's Ritual is more than an album-it's a journey through time, memory, and sound. Rooted in her Cuban heritage yet enriched by the landscapes and influences that have shaped her path, Ritual is a luminous fusion of tradition and innovation. With the masterful production of Gustavo Guerrero (a.k.a. Augusto Bracho), the album weaves the warmth of the tres, the depth of the leona, and the rhythmic textures of jaranas into a sonic tapestry that feels both timeless and urgent. From the infectious energy of Baila mi guaguancó to the poignant nostalgia of Habana, each track is a chapter in Rita's artistic evolution. Released by Ansonia Records, Ritual is a testament to Latin music's enduring power-a bridge between past and present, Cuba and Mexico, sound and spirit.

Maria Usbecks neuestes Album "Naturaleza" ist ein kühnes neues Kapitel für die sich stets wandelnde ecuadorianische Singer-Songwriterin. Sie taucht tief in ihr einzigartiges Reich der eigenwilligen Popmusik ein und behält dabei die beobachtende, forschende Perspektive bei, die ihr bisheriges Werk auszeichnet. Usbecks drittes Album für das Cascine-Label folgt auf das beeindruckende Debüt "Amparo" von 2016 (bei dem Caroline Polachek als Co-Produzentin mitwirkte) und das expansive, forschende "Envejeciendo" von 2019, bei dem Usbeck ihre Beine in die warme Glut elektronischer Musik der 1980er Jahre und die geräumigen Grooves des City-Pop streckte. Seit diesem Album hat sie auch die einmalige Single ,Hollow" veröffentlicht, die ihre bezaubernde Stimme in einen futuristischen Glanz inmitten sternenklarer Synthesizer und der Frisson der Dialup-Technologie hüllt.

Placenta is the fourth collection of broadly imaginative and highly collaborative Carlos Niño & Friends music released on International Anthem since 2021. But perhaps more notably for the zeitgeist of today, it is the first new music to be released by Carlos Niño & Friends following the November 2023 release of André 3000’s New Blue Sun – an album which Carlos produced alongside André, while co-writing, performing, and co-mixing every song. The announcement of Placenta also comes while Carlos is in the middle of tours with André to support New Blue Sun, where Carlos wields an immense presence as music director, bandleader, and percussionist, and performs alongside many of the same musicians that are present on his recent & Friends albums, including this new one.

Placenta is announced on the 1st solar return of Moss Niño, of whom Carlos and his partner Annelise are Earth parents. Their experience of pregnancy, labor and delivery were all profoundly impactful for Carlos. Becoming a father again (a whole 25 years after the birth of Azul Niño, who has become a regular artistic collaborator for Carlos) he felt total Inspiration for this set of recordings, and hence it is perhaps the most conceptually-grounded Carlos Niño & Friends album we've yet to present–fully connected to the spirit of family, birth, and "how we get here."

In Niño’s words, Placenta is “dedicated to Mothers, Children, Babies, Aunties, Doulas, Midwives, Birthworkers...,” and a short list of track titles includes: "Love to all Doulas!," "Some Rest for the Midwives," "Real Vital Organs," and "Generous Pelvis." The centerpiece of the album, the sprawling "Placenta, Nourishment, New Home, The Galaxy," is an unbelievably vivid immersion in the sonic architecture of Niño's memory-scape...like being present in his energy field...or being present in a birthing room, or maybe even being born yourself. And it just might be the most powerful, unique piece of music Niño has ever created.

Featured artists on Placenta, in order of their entry on the album, include: Nate Mercereau, Jamire Williams, Sam Gendel, Jamael Dean, Dexter Story, Brandon Eugene Owens, Maia, André 3000, Jesse Peterson, Ariel Kalma, Surya Botofasina, Annelise, Haize Hawke, Aaron Shaw, Devin Daniels, Tiffany de Leon, Michael Bolger, Michael Alvidrez, Moss, Iasos, Photay, Deantoni Parks, Adam Rudolph, Andres Renteria, and Cavana Lee.

Hyldon, Brasiliens hochverehrter Sänger, Musiker und Produzent, hat sich mit Adrian Younge zusammengetan, um ein neues psychedelisches Soul-Album, HYLDON JID023, zu kreieren. Das Duo, das sich von Hyldons bahnbrechenden Arbeiten der 60er und 70er Jahre inspirieren ließ, lässt den Geist dieser Epoche wieder aufleben und schafft gleichzeitig einen modernen Klassiker. Hyldons einzigartige Stimme und lyrische Tiefe, kombiniert mit Younge's innovativer, analoger Produktion, sorgen dafür, dass dieses Album nicht in Vergessenheit geraten wird. JID023 ist eine der letzten Aufnahmen mit Hyldons langjährigem Mitarbeiter und Freund, dem verstorbenen Schlagzeuger Ivan ,Mamao" Conti von Azymuth.

Hyldon, Brasiliens hochverehrter Sänger, Musiker und Produzent, hat sich mit Adrian Younge zusammengetan, um ein neues psychedelisches Soul-Album, HYLDON JID023, zu kreieren. Das Duo, das sich von Hyldons bahnbrechenden Arbeiten der 60er und 70er Jahre inspirieren ließ, lässt den Geist dieser Epoche wieder aufleben und schafft gleichzeitig einen modernen Klassiker. Hyldons einzigartige Stimme und lyrische Tiefe, kombiniert mit Younge's innovativer, analoger Produktion, sorgen dafür, dass dieses Album nicht in Vergessenheit geraten wird. JID023 ist eine der letzten Aufnahmen mit Hyldons langjährigem Mitarbeiter und Freund, dem verstorbenen Schlagzeuger Ivan ,Mamao" Conti von Azymuth.

Limited edition pressing - 50 copies come with one page insert. Download code included.

The album Sonic Mystics for Poems (of Life and Death of a Phoenix) by Andrea Burelli is a work that masterfully blends traditional musical languages with the formal and conceptual sensibilities of contemporary music. It offers a profound reflection on the life-death-life cycle, centered on poetic texts that oscillate between human-sensitive experience and the mythical journey of a phoenix, a metaphor of this circular and infinite reality.

The work, which includes a collaboration with musicians from the renowned Solistenensemble Kaleidoskop, stands out for its clear influence from classical Western music and modal traditions, as well as experimental electronics. Composed for voices, strings, synthesizers, and drum machines, this music features a minimalist tapestry of polyphonies, enhanced by sophisticated electronic elements and a diverse array of rhythmic articulations.

Field Notes describes Andrea Burelli as a versatile artist capable of embodying a multitude of roles, from poet to composer, musician, and singer, emphasizing how her work reflects this versatility by ¨combining elements of art song, contemporary music, pop, and electronic sounds.¨ According to Groove Magazine, this LP evokes neoclassical chamber music and an imagined Italian folklore, aligning with contemporary explorations of modern vocal abstractions, similar to the work of artists like Marina Herlop, stating that: “This is how the new and the good emerge.”

Furthermore, the music has received positive feedback from internationally acclaimed artists such as Rashad Becker, who, in addition to being the mastering engineer of the project, describes it as "pure and honest"; James Young of Darkstar calls it "bold and innovative"; while Eartheater (PAN), Rabih Beaini, and Gigi Masin have praised it as "beautiful."

Originally issued under Cannonball's name (but with both Wes Montgomery and Ray Brown mentioned on the cover), Cannonball Adderley and the Poll Winners was one of countless albums that used awards garnered by the participating musicians as a promotional tool. Of course, all of this publicity seems irrelevant now, considering that both leaders have long been consecrated as among the best jazz men ever. Both showcase a wonderful chemistry here, in their only session ever as co-leaders. 180-GRAM COLORED RED VINYL - THE COMPLETE LP + 2 BONUS TRACKS - Contains new specially prepared liner notes by Penguin Guide to Jazz's writer BRIAN MORTON and by Paris' prestigious JAZZ MAGAZINE. LIMITED EDITION




[d] Au Privave [Alt. Tk]

Jazz Is Dead geht in die dritte Phase von Veröffentlichungen mit erstklassigen Aufnahmen, die den Hörer auf eine Reise durch die funkigen Klänge Ghanas bis hin zum psychedelischen Soul und Samba Brasiliens mitnehmen. Von den Labelgründern Adrian Younge und Ali Shaheed Muhammad produziert, enthält Jazz Is Dead 021 neue analoge Aufnahmen der lebenden Legenden Ebo Taylor, Hyldon, Dom Salvador, Antonio Carlos e Jocafi, Carlos Dafé, und Joyce e Tutty Moreno.

New twelve inch of vintage Wackie's on City Line. The A-side features two of the best Wackie's deep roots tunes previously only released on compilation, which have long needed single release. Stranger Cole's somber "Capture Land" about the reality of squatting in the ghetto, followed by Wanachi's instrumental cut of the brilliant rhythm you might know from Azul's 'Black Rose.' The B-side features a really unique previously unreleased tune from one Moon Dread. Operatic, semi-acoustic and haunting, if you like early Ras Michael & The Sons of Negus, this tune offers a maybe less spiritual and more theatrical but still compelling take in that vein from about a decade later in the late 1970s. Comes in new Wackie's company sleeve.

repressed!

Kerri Chandler delivers ‘Lost & Found Vol.1’ this March, a four-track collection of revisited, unreleased archive cuts, including Kerri’s own Grampa, Calvin Reed Sr. as a featuring artist on the opening track.

New Jersey’s Kerri Chandler has been at the forefront of house music since the beginning of his career in the early 90’s. Over the past three decades he’s released an extensive back catalogue of material including several albums on his own Madhouse and Kaoz Theory imprints as well as the likes of DJ Deep’s Deeply Rooted, Apollonia, Jerome Sydenham’s Ibadan and Watergate Records.

Here we see Kerri dig up some never before heard archived material from the 90’s and early 2000’s for this four-track EP. Up first is ‘What Will We Do ft Grampa’, featuring spoken word and vocal lines from Kerri’s Grandfather Calvin Reed St. atop gritty swinging drums, organ lines and rounded subs. ‘Tonight’ follows and tips focus over to airy chord sequences, choppy bass notes, dreamy arpeggio lines and dynamic drums.

‘Into The Night’ opens the b-side next, bringing a raw bass hook, tension building strings and vocal chants of the track’s title into the forefront while bumpy stripped-back drums keep things driving. ‘This and That’ then rounds out the release, bringing twitchy resonant synths and phaser sweeps into the mix alongside stuttering drum programming for a funk-infused, loop driven eight minute workout.

DJ Feedback:

Honey Dijon - Classic
Kerri still has his A Game intact! Great Ep!

Laurent Garnier - Kompakt, MCDE, F Communications
PURE LOOOOOOOOOVE

Jimpster - Freerange, Delusions Of Grandeur
Kerri!!!! Classic tracks with that inimitable groove and production which makes him such an icon. Big ups!!

Terry Farley - Junior Boys Own
BACK 2 DA RAW

Fouk - Heist, House of Disco, Razor N Tape
Super hard to pick a fav as each track has its own vibe! LOVE THIS <3

Enzo Siragusa - Fuse London, InFuse
Quality as always from Kerri!

Harvey Sutherland - MCDE, PPU, This Thing
always.

Roy Davis Jnr
Full support.

Jason Kendig Honey Sound System
Always fire tracks from kerri!

DJ Bone - Subject, Metroplex
Love the entire release!

Politics of Dancing (Guillaume & David)
one love for Kerry as always :)

Joyce Muniz - Exploited Ghetto, 20:20 Vision
Nice Ep!

Massimiliano Pagliara - Panorama Bar, Ostgut Ton
groovy!

Shadow Child
king.

Tobi Neumann - What Came First
Brutally good House Music. This one I wanna have on vinyl. Thanks master Chandler for the music!

Chrissy - Chiwax, The Nite Owl Diner
Very excited for this one

Halo Varga - All Inn Music, Surface, Inmotion Music
Kerri is GOD

Mutiny - Azuli, Skint
Kerri on that deep classic vibe..Love

Alinka - Permanent Vacation, Twirl!
Brilliant as always

Diz - Robsoul
90's freshness!!!

Fish Go Deep - Innervisions, Defected
The long-awaited follow up to She's Crazy! Beautifully done. The other tracks also slamming, packed with dancefloor drive and emotion. Can't wait to play loud.

Art Of Tones, Llorca
Superb EP !

Lupe
The Grampa one, instant cult hit, very endearing! Great stuff

BD1982 - Diskotopia, Tokyo
Classic material from an absolute legend

Johannes Albert - Need Want, Mirau, Berlin Bass
vibes for days!

Joseph G. Bendavid
kerri can't fail, always bomb tracks

Terry Grant
Stone. Cold. Legend.

Harri - Sub Club
Lovely

Severino - Horse Meat Disco
oh yes quality

The seductive sounds of Portugal swing to Dark Entries on Rock Rendez Vous: Música Moderna Portuguesa 1985-1986, a compilation of vintage Iberian synth, wave, and postpunk gems.

The legendary club Rock Rendez Vous (RRV) opened its doors in Lisbon in 1980, heralding a new era in the Portuguese underground. Although touring acts like Killing Joke, Danse Society, or Echo & the Bunnymen graced its stage, RRV more vitally served as ground zero for a new generation of Portuguese bands, one simultaneously in touch with broader international musical movements while being invested in establishing a national sonic identity. Rock Rendez Vous culls 9 tracks of prime Portuguese indie tunes from the Música Moderna Portuguesa compilations released in 1985 and 1986, documenting the heyday of this movement. Jangly and brooding postpunk gems like “Levante” from Jovem Guarda, Projecto Azul’s “New Sides,” and Essa Entente’s “Festa Final” are well-represented here. Meanwhile, quirky Balearic-laced synthpop gems like D. W. Art’s “Mate” or Zona Proibida’s “Musak” add a subtly regional flare. Rock Rendez Vous: Música Moderna Portuguesa comes housed in a sleeve designed by Eloise Leigh featuring a photo of the club RRV, and also includes a double-sided insert with lyrics, photos, and liner notes.

Nha Sentimento is the eleventh and final studio album released by Cape Verdean singer Cesaria Evora. The album consists of 14 songs, most of them written by Cesaria's well-known writers Teófilo Chantre and Manuel de Novas. For the first time in 15 years, the album is being released on vinyl and includes the bonus track ""Gaivota Pa Voa"". Nha Sentimento is available as a 15th anniversary edition of 500 numbered copies on crystal clear vinyl and includes a 4-page booklet with lyrics.

With two critically acclaimed albums and a swathe of award-winning production turns under their belt, Ana Frango Elétrico present their most confident and accomplished work to date: Me Chama De Gato Que Eu Sou Sua / Call Me They That I’m Yours. Gesturing to a tradition of Brazilian boogie music, but bouncing with modern pop ebullience, the album sees the Rio artist evolve from a captivating upstart into a surefooted scene leader in full stride.

At just 25, the prolific artist and producer has already garnered worldwide admirers. Ana’s sophomore Little Electric Chicken Heart was nominated at the 2020 Latin Grammys. Since then, standalone singles have received the WME ‘Best Music Producer’ Award, recognising Ana’s deep passion for music production – a passion which has led to collaborations with nascent Brazilian stars Dora Morelenbaum, Illy and Sophia Chablau. Most recently, Ana was hailed for their co-production of Bala Desejo’s 2022 Latin Grammy-winning album Sim Sim Sim.

The new album finds Ana at their most assured and full voiced. Album opener “Electric Fish”, with funky bass and shimmering backing vocals, sets a buoyant tone. “Boy of Stranger Things” is its bombastic counterpart. It’s the grooviest Ana has ever sounded. And the most brazen. Lyrically, where Ana was once oblique on personal matters, they are now forthright – lucidly exploring their gender identity, citing accessible cultural references, and often singing in English.

“I started this album in 2021 with the intention of showing, in means of sound, understandings and feelings about queer love, subjectively exposing myself,” the non-binary artist states – before qualifying that though “feeling was its driving force, the album is really about musical production.”

“There’s so many references to different decades,” Ana explains. “Seventies drums with eighties processing … Going back, getting beyond … Testing the limits of organic sounds”. Characteristically playful, on Me Chama, Ana takes vivid and rewarding detours through funk-inflected R&B (“Dela”) and art pop (“Dr. Sabe Tudo”). “Nuvem Vermelha” is a cinematic chanson with lush strings that recalls Arthur Verocai. Then, “Coisa Maluca” loafs with the indie insouciance of Canadian slacker Mac Demarco. Later, “Let's Go Before Again”, is a full-on drum machine workout evocative of Stereolab.

Placenta is the fourth collection of broadly imaginative and highly collaborative Carlos Niño & Friends music released on International Anthem since 2021. But perhaps more notably for the zeitgeist of today, it is the first new music to be released by Carlos Niño & Friends following the November 2023 release of André 3000’s New Blue Sun – an album which Carlos produced alongside André, while co-writing, performing, and co-mixing every song. The announcement of Placenta also comes while Carlos is in the middle of tours with André to support New Blue Sun, where Carlos wields an immense presence as music director, bandleader, and percussionist, and performs alongside many of the same musicians that are present on his recent & Friends albums, including this new one.

Placenta is announced on the 1st solar return of Moss Niño, of whom Carlos and his partner Annelise are Earth parents. Their experience of pregnancy, labor and delivery were all profoundly impactful for Carlos. Becoming a father again (a whole 25 years after the birth of Azul Niño, who has become a regular artistic collaborator for Carlos) he felt total Inspiration for this set of recordings, and hence it is perhaps the most conceptually-grounded Carlos Niño & Friends album we've yet to present–fully connected to the spirit of family, birth, and "how we get here."

In Niño’s words, Placenta is “dedicated to Mothers, Children, Babies, Aunties, Doulas, Midwives, Birthworkers...,” and a short list of track titles includes: "Love to all Doulas!," "Some Rest for the Midwives," "Real Vital Organs," and "Generous Pelvis." The centerpiece of the album, the sprawling "Placenta, Nourishment, New Home, The Galaxy," is an unbelievably vivid immersion in the sonic architecture of Niño's memory-scape...like being present in his energy field...or being present in a birthing room, or maybe even being born yourself. And it just might be the most powerful, unique piece of music Niño has ever created.

Featured artists on Placenta, in order of their entry on the album, include: Nate Mercereau, Jamire Williams, Sam Gendel, Jamael Dean, Dexter Story, Brandon Eugene Owens, Maia, André 3000, Jesse Peterson, Ariel Kalma, Surya Botofasina, Annelise, Haize Hawke, Aaron Shaw, Devin Daniels, Tiffany de Leon, Michael Bolger, Michael Alvidrez, Moss, Iasos, Photay, Deantoni Parks, Adam Rudolph, Andres Renteria, and Cavana Lee.

Shelly y Nueva Generación was a cult Spanish soul and garage band that left an indelible mark on the late 1960s music scene. Their rare 45s, now classic DJ spins in the mod/psych 60s scene, boast a funky Le Beat Bespoke style freakbeat sound. Three singles were released on Philips between 1968-69, including their stunning take on Nonato Buzar's 'Vesti Azul' and the outstanding original 'I'm Just a Fool', as featured on Ivan Zulueta's cult film "Un, Dos, Tres, Al Escondite Inglés". This long-awaited release unveils their complete discography plus many unreleased recordings unearthed from lost tapes now seeing the light of day for the first time! It comes with a 8-page booklet with extensive notes and rare photos of the artists. This compilation stands as both a celebration of the band's legacy and a rediscovery of the timeless allure that made Shelly y Nueva Generación an enduring force in the annals of Spanish music history.

With two critically acclaimed albums and a swathe of award-winning production turns under their belt, Ana Frango Elétrico present their most confident and accomplished work to date: Me Chama De Gato Que Eu Sou Sua / Call Me They That I’m Yours. Gesturing to a tradition of Brazilian boogie music, but bouncing with modern pop ebullience, the album sees the Rio artist evolve from a captivating upstart into a surefooted scene leader in full stride.

At just 25, the prolific artist and producer has already garnered worldwide admirers. Ana’s sophomore Little Electric Chicken Heart was nominated at the 2020 Latin Grammys. Since then, standalone singles have received the WME ‘Best Music Producer’ Award, recognising Ana’s deep passion for music production – a passion which has led to collaborations with nascent Brazilian stars Dora Morelenbaum, Illy and Sophia Chablau. Most recently, Ana was hailed for their co-production of Bala Desejo’s 2022 Latin Grammy-winning album Sim Sim Sim.

The new album finds Ana at their most assured and full voiced. Album opener “Electric Fish”, with funky bass and shimmering backing vocals, sets a buoyant tone. “Boy of Stranger Things” is its bombastic counterpart. It’s the grooviest Ana has ever sounded. And the most brazen. Lyrically, where Ana was once oblique on personal matters, they are now forthright – lucidly exploring their gender identity, citing accessible cultural references, and often singing in English.

“I started this album in 2021 with the intention of showing, in means of sound, understandings and feelings about queer love, subjectively exposing myself,” the non-binary artist states – before qualifying that though “feeling was its driving force, the album is really about musical production.”

“There’s so many references to different decades,” Ana explains. “Seventies drums with eighties processing … Going back, getting beyond … Testing the limits of organic sounds”. Characteristically playful, on Me Chama, Ana takes vivid and rewarding detours through funk-inflected R&B (“Dela”) and art pop (“Dr. Sabe Tudo”). “Nuvem Vermelha” is a cinematic chanson with lush strings that recalls Arthur Verocai. Then, “Coisa Maluca” loafs with the indie insouciance of Canadian slacker Mac Demarco. Later, “Let's Go Before Again”, is a full-on drum machine workout evocative of Stereolab.

“Even if people don't find my own references here, they'll find theirs,” observes Ana. “Maybe that’s this record’s biggest goal.”

"7 Estrelas | quem arrancou o céu?" ("7 Stars | Who ripped the sky down?") is the fourth album of the Sao Paulo-based artist Luiza Lian, and her third collaboration with French/Brazilian music producer Charles Tixier. Nearly five years after the celebrated "Azul Moderno", the duo returns to the scene they materialized before a period of darkness that rewrote Brazil's history. And this new visit pushes the boundaries even further with resources that the singer-songwriter had only started exploring on the previous record. The tracks, "Tecnicolor" (featuring the only guest appearance on the album, as Luiza is joined by singer Céu) and "Homenagem" (Homage), continue to explore this new horizon, which becomes increasingly bizarre and deceptive. In addition to layering noises and electronic elements over her musicality, Luiza also explores the range of her vocals by digitally distorting them. The first tracks are just the initial steps in this new work: a profound reflection on how we distort our lives based on false reflections we see both digitally in our use of social media and materially in an increasingly consumerist society. The new album recreates this artificial context in an almost caricatured way, deliberately exaggerated distortions to generate the estrangement we should feel towards the values we cherish and reject based on this false reality we force ourselves to believe in.

The Vampisoul chicas are back. And for the third time. And, although collectors and connoisseurs have never stopped playing the songs by these Spanish female singers, here they are again, sounding as vibrant as they did half a century ago. Because these children of their times, the musical decades of the 60s and 70s covered by this compilation, boldly ventured into the limited spaces of freedom open to female artists back then. And they did so with attitude, in search of the right repertoire, proudly presenting new, daring personal projects often breaking away from the demure tone adopted by mainstream local female singers. And they were canny about it too. Realizing that the censors working back would just listen to the song that the record company flagged up as the listening target on the A side and not bother to flip the single over, they recorded many of their racier songs on the B side. That exciting dark side of singles, which have long tempted collectors. Lacking the freedom and visibility enjoyed today, these daring records by these female singers went as far as they could and a few managed to go beyond. The songs on this compilation tell everyday stories, narrating small socio-musical conquests revolving round the enduring theme of young love. Sass, sex, boy-girl rivalry, the defense of liberating women's fashion and, saying what women think loud and clear, all characterize these grooves. Performed in a variety of musical styles ranging from ye-yé, twist, disco, beat, popcorn, flamenco pop to Northern Soul, and, even more surprisingly, sung in an everyday, natural and self-assured tone that must have ruffled some feathers. As in previous volumes of "¡Chicas!", this third compilation includes female singers from outside Spain but whose career, their decision to sing in Spanish or their long tours and local stays, and occasionally permanent residence, meant their albums were created, recorded or produced here in Spain. It's a winning proposition for everyone. Take the band Los Bravos, four of the singers that passed through the ranks of this quintessentially Spanish group were foreigners. It's part of our open-door policy. Spain is different. In every sense. But let's get down to the serious stuff and the ritual: vinyl on the turntable and needle poised ready to play. Third volume of Vampis' ¡Chicas! series, an irresistible collection of ye-yé, twist, disco, beat, popcorn, flamenco pop and even Northern Soul! From the early 60s and in the middle of a difficult political and social context, Spanish female singers - and those who moved to Spain - disregarded conventions and overcame all barriers to be part of a music movement that shook the Spanish society of the period. Many of the 24 tracks are reissued for the first time, including very hard-to-find records. It includes extensive notes by Vicente Fabuel featuring all the original record sleeves and artist photos.

Tricatel is proud to present, in a limited edition of 777 hand-numbered copies, the superb double vinyl/book dedicated to 7×7, inspired by Bertrand Burgalat.

Seven notes in the scale, seven days in the week, seven colors in the rainbow, seven wonders of the world, seven virtues and seven sins, seven ages of life, seven samurai, seven dwarfs for Snow White… Under the sign of 7, Belgian artist Jean Pierre Müller, in close collaboration with seven music legends (Robert Wyatt, Archie Shepp, Sean O’Hagan, Mulatu Astatke, Kassin, Nile Rodgers, Terry Riley), has conceived a magical project combining visual and sound compositions, in all senses and meanings.

In the summer of 2012, 7×7 was first presented to the public in its entirety at Edinburgh’s Summerhall, the start of a series of high-profile exhibitions and shows that have taken 7×7 from New York to Cannes. Ten years later, Jean Pierre and Tricatel would like to dream again with you, this time of a physical object celebrating 7×7 and offering the general public the opportunity to own a piece of the 7 colors dream.

This art and music object is a Gatefold double-vinyl, comprising two white vinyl records in printed inner sleeves and a 64-page booklet in the center, like a book.

Le Chant du Monde präsentiert den zweiten Teil seiner Serie „Secret Nuggets of Wise“ (SNOW), die zu einer Referenzsammlung für jede Diskothek ausgebaut wird. Der Reggae trat Dank Bob Marley,
Peter Tosh u. v. a. seinen Siegeszug von Jamaika um die Welt an. SNOW2 dringt jedoch viel tiefer in die Geschichte ein und präsentiert Künstler, wie The In Crowd, Lloyd Jones, Azul und Horace Denton. Alle Titel wurden sorgfältig remastert

The popularity of Brazilian music from the 60s, 70s and 80s has experienced quite the renaissance; artists such as Gal Costa, Gilberto Gil, Arthur Verocai, Joyce et al, have become household names to an international audience passionate about global sounds. However, even for die-hard fans and collectors of Brazilian music of the past, discovering contemporary Brazilian artists is not always easy, nor accessible. But, if you know where to look, you will see that there is a resurgence well underway that can be epitomised by an exciting new wave of Brazilian artists beginning to break through and gather momentum overseas. It’s with thanks to Sound and Colours, a website devoted to promoting Latin American music and culture, that we can help shine a light on one particular collective, bursting with creativity and camaraderie.

‘Hidden Waters: Strange and Sublime Sounds of Rio de Janeiro’ is compiled by Joe Osborne (founder of specialist Brazilian music platform Brazilian Wax) and Russ Slater (editor at large of Sounds and Colours). Focusing solely on the 'Rio Scene', rather than taking on the mammoth task of tackling Brazil as a whole, this collection presents 20-plus ground-breaking artists selected from Rio’s resurgent music scene. By presenting a snapshot into the pulse of the city and the vibrant musicians that live in it, ‘Hidden Waters’ collates tracks from a wide spectrum of musical genres from the avant-garde edge to bossa nova, samba, Candomblé, lo-fi rock, jazz and funk.

‘Hidden Waters’ showcases musicians such as iconic Rio mainstays Negro Leo & Ava Rocha, Brazilian jazz upstart Antônio Neves, critically lauded Avant-pop trailblazer Thiago Nassif, breakthrough artists Ana Frango Elétrico and Letrux, lo-fi psych rocker Lê Almeida, plus the Latin Grammy-winning Bala Desejo who are set to explode onto the world stage. The music featured on ‘Hidden Waters’ is unequivocally Brazilian, swelling with samba, bossa nova, funk, and jazz. But it’s within the album's blend; from sunny psychedelia to dusky synth-pop via experimental electronics, that marks the compilation as the sound of modern, multicultural Rio.

This comprehensive compilation comes with album artwork designed by Rio music’s leading album artwork designer, Caio Paiva. It features essays by professor and music critic Bernardo Oliveira and music journalist Leonardo Lichote, plus extensive notes on each track by the artists themselves.

"El Pasaje del Aumento" is a collection of syncopated rhythms for hypnotic slow dance. An accident of oppressive atmospheres with a humorous sense of rhythm and composition, which moves between downtempo, African rhythms and dub. With a certain oriental softness, it introduces you into a state of enchantment, spell... a hypnotic and mysterious restlessness, almost uncomfortable. Sentuhlà squeezes his Yamaha Rm1x on this second album, creating rhythms that you would never believe possible with a single synthesizer. He spins, twists and strangles it to the limit, til getting the last drop of frequency and oscillation.

Without too obvious references, it recalls the rhythms of Toulouse Low Trax or Wolf Müller, the experimentation of Muslimgauze, the repetition of Huerco S... But if you ask Sentuhlà himself, he will also mention Fela Kuti, Sun Ra, Can, Cabaret Voltaire, Tom Zé or Lee Scratch Perry...

Sentuhlà is one of the many aliases of musical jack of all trades José Guerrero, a long-standing figure in the already rich underground scene of Valencia. In this solo excursion, he explores the vast possibilities of mechanical repetition, the machine funk of dirtbag rhythms, and proper boogie DIY synth music, sculpting a syncopated sound that is both modern and atavistic. Coming from a deep knowledge and ability to communicate very diverse sounds, slow jams unfold into dance music for clear-eyed lounge lizards for whom sleaze comes not dizzy but focused. Whitened African rhythms beat up no-wave disco pleasure points, managing the hard task of being very cool and nonchalant, but also hot and dedicated.

'Atlantis' is a smouldering jazz-funk, cinematic excursion courtesy of the Brazilian maestro, Daniel Salinas. A conductor, pianist, arranger, and producer, he has worked across several genres within Brazil’s rich musical tapestry, including the Beatles-inspired Jovem Guarda movement, jazz-funk, and MPB to name just a few. He featured on records by Franco, Célia, Perfume Azul Do Sol, Wilson Simonal, Juca Chaves and a whole host of Brazilian greats.

Released in 1973 on Top Tape Records, 'Atlantis’, features one of Salinas’ best-known recordings (at least in Europe), his much-loved interpretation of 'Also Sprach Zarathustra’ entitled 'Straussmania’. It was inspired by Eumir Deodato's global hit of the same year and went on to be adopted by various scenes becoming a classic within rare groove circles as well as amongst breaks and beats diggers.

Other highlights include the only original Salinas composed track on the album; the driving, orchestrated Brazilian groover, 'Baião', and an epic, head nod breakbeat interpretation of Donovan's folky 'Atlantis'.

'Atlantis' was also issued by the American record label Cadet in 1974 with alternative yellow sleeve artwork; this re-issue is a replica of the original Brazilian Top Tape version from 1973.


• Smouldering jazz-funk & cinematic excursions from the Brazilian maestro Daniel Salinas.

• Featuring his much-loved interpretation of 'Also Sprach Zarathustra' entitled 'Straussmania'.

• Replica of the original Brazilian Top Tape version from 1973.

Black Truffle is pleased to announce Uri Katzenstein’s Audio Works, produced in collaboration with Holon’s Centre for Digital Art. Spanning sculptural installation, performance, video art, and many other media, Katzenstein’s absurdist, poetic, and often hilarious work made extensive use of sound and music. This, however, is the first release dedicated to the artist’s audio work, collecting 28 tracks produced between the early 1980s and 2017. Compiled from dozens of hours of recordings left uncatalogued (and in some instances unheard) at the artist’s death in 2018, these four sides are a treasure trove, offering a captivating glimpse into a uniquely uninhibited creative practice. Predominantly recorded alone, with some contributions from regular collaborators such as Ohad Fishof on the later pieces, many of these tracks stem from Katzenstein’s time living in New York in the 1980s. Feeding on the cross-pollination of post-punk energy, radical art practice, and new media possibilities that characterised the New York scene at this time, many of Katzenstein’s recordings squeeze multilayered vocal experimentation into synth-based miniatures with a distinctively pop twist, their forms ruptured with anarchic bursts of free-form electronics, sounds from self-built instruments, and field-recorded snatches of the outside world. Katzenstein’s electronic production calls up touchstones of skewed 80s art pop like Laurie Anderson, Ambitious Lovers, and Scritti Politti, but imbued with DIY directness and economy of means. The arrangements of synths, percussion, and noise elements are invigoratingly raw and, at times, almost austerely minimal. On ‘Intermission’, thick distorted chords accompany a wandering portamento melody, inhabiting the wayward carnival space of Roedelius’ most unhinged efforts. Many of the tracks centre on Katzenstein’s multi-tracked vocal performances, often moving between multiple languages, (most commonly English, German, French, and Hebrew). A bewildering range of vocal approaches are present on these pieces, from sweet wordless harmonies to hammed-up growls and monastic recitations. On ‘Skin O. Daayba – Complex Habits no. 3’, improvised resonance singing against a backdrop of echoing electronics and radio snatches. ‘Half Monk Half Herring’ layers multi-lingual syllabic fragments, crossing sound poetry techniques with melodic invention in a way rarely heard outside of Caetano Veloso’s Araçá Azul. On ‘Attempt to Raise Hell’, Katzenstein’s distorted voice spits out streams of alliterative nonsense (‘the hemlock of Henry, he was a hermit…purple pumpkin pulsates to pops’), while on the hilarious ‘Eric’, Katzenstein appears to instruct a small boy simultaneously in basic French and German conversation. On ‘Chicken’, vocal harmonies accompany the pecking and clucking of the titular fowl. Moving from bent, outsider synth pop to snatches of Jo Jones-esque automated instrumental clang and absurdist linguistic experiments, these are far more than footnotes to an artist’s gallery works. Accompanied by extensive, beautifully written liner notes by Roee Rosen and the little information that exists on the individual tracks, Katzenstein’s Audio Works inhabits an outer fringe of DIY pop and sonic experiment reminiscent of Pascal Comelade or Die Welttraumforscher, where accessible forms convey radical interrogations of song, word, and sound.

This album records a mystic standoff between Shahzad Ismaily on drums and Niño Lento es Fuego on electric guitar, featuring hypnotic synth storms and spiritual beats brewed into a heavy healing trance. “It was like having that conversation that we never really had,” says Niño Lento es Fuego (a.k.a guitarist Camilo Rodriguez), “‘cause he’s shy, and me too.” Niño Lento and Shahzad Ismaily – multi-instrumentalist, producer and studio owner – have been circling each other for years. They are both legendary players and leaders in their own right who have built many musical worlds in Brooklyn. Ismaily records and performs with artists such as Laurie Anderson, Lou Reed, Tom Waits, Laura Veirs, Sam Amidon, Ceramic Dog, Secret Chiefs 3, John Zorn, Will Oldham and Nels Cline. Rodriguez is a NY-based guitarist and percussionist who co-founded Combo Chimbita, M.A.K.U Soundsystem, Bulla en el Barrio, and Carolina Oliveros y la Nación along with fellow Colombians in New York. He also performs with La Cumbiamba eNeYé, where he first met Ismaily. On September 22, 2022, Figure & Ground releases Ahora Contra el Resto de los Tiempos, Vol. 1, an exploratory and improvisational project comprising six original tracks composed in real time by Shahzad Ali Ismaily (drums) and Niño Lento es Fuego (electric guitar). Produced, recorded and mixed by Lily Wen, the duo recorded guitar and drums live in the room at Figure 8 Recording.

Terreno Baldio is hailed as one of the leading progressive rock bands from the seventies in Brazil, from its surrealistic album art to its equally interesting music, translates the feeling of wasteland to an alternative world of beauty and complexity, achieving worldwide popularity over several essential albums lists. The homonymous work Terreno Baldio, released in 1976, was an active part of a whole scenario of youth suffering from strong political repression, representing in the song Grite (Scream) the desire of all Brazilian society that yearned to express its voice with freedom, being an impressive moment of collective catharsis in their live performances. Originating in Sao Paulo in the early 1970s, it released its debut album in 1976, recorded on 4 channels. Formed by Mozart Mello on guitars, Roberto Lazzarini on keys, Joao Ascençao on bass, Jô on drums and Joao Kurk (Fusa) on vocals and percussion. The band Terreno Baldio was born in 1974, when they got together in a group with the purpose of making progressive rock. Roberto Lazzarini was already playing with Joao Kurk and Joaquim in the Ilanders group, a dance band; Mozart Mello and Joao Ascensao joined there, having met on the recordings of Pete Dunaway's album. Everyone knew and liked King Crimson, Gentle Giant and Yes, wanting to make a more worked sound as a group, thus creating Terreno Baldio.

Entspannte Grooves, zurückgelehnte Rhythmen von um und bei 80 bis 90 BPM sowie atmosphärische Klangflächen. Mit anderen Worten: der perfekte Chillout-Sound für jeden Tag.

Repress

From the creator of Deep Reggaeton and the hit record ​"​¡Estéreo Bomba! Vol. 1​"​, DJ Python, returns with the first masterful full length album "Dulce Compañia". Comprised of eight ethe-real, banging hits of the most unique and thought provoking calibre - mixing Deep House, Shoegaze, Trance, and of course, Reggaeton - these songs-not-tracks slide over the Dembow in the unique way only Python can dream up. Rated E for Everyone.

LTD 50TH ANNIVERSARY REISSUE

Originally released in 1971, during the dark days of the military dictatorship in Uruguay, this unique album made a strong and lasting impression on Juana Molina when she was a child. The present reissue on Sonamos (Juana's recently-formed owned label) is the result of a patient labor of love conducted by Juana and her associate producer Mario Agustin Gonzalez. This anniversary release comes our as a very limited-edition containing the remastered original LP, a second LP with 16 unreleased tracks, and a thick, informative booklet: Musicasión was a series of collective shows by a group of artists, mixing theatrical elements, poetry, improvised stage effects, and of course music, with a very special blend of rock (then called beat, in a dual reference to British pop bands of the sixties and to Beat Generation poetry), candombe (the percussion-driven style created in Uruguay among the descendants of liberated African slaves) tango, jazz and bossa nova. A combination which bears more than a passing resemblance with Brazilian Tropicália, which originated around the same time.

Calexico's Joey Burns and John Convertino return in 2022 with their luminous 10th studio album, El Mirador; a hopeful, kaleidoscopic beacon of rock, bluesy ruminations and Latin American sounds, to be released on April 8.

Convening at longtime bandmate Sergio Mendoza's home studio in Tucson, Arizona, the ensemble recorded throughout the summer of 2021, crafting one of their most riveting and whimsical productions to date. Convertino, who now resides in El Paso, and Burns, who relocated to Boise in 2020, channeled cherished memories of Southwestern landscapes and joyful barrio melting pots into an evocative love letter to the desert borderlands that nourished them for over 20 years.

Calexico's Joey Burns and John Convertino return in 2022 with their luminous 10th studio album, El Mirador; a hopeful, kaleidoscopic beacon of rock, bluesy ruminations and Latin American sounds, to be released on April 8.

Convening at longtime bandmate Sergio Mendoza's home studio in Tucson, Arizona, the ensemble recorded throughout the summer of 2021, crafting one of their most riveting and whimsical productions to date. Convertino, who now resides in El Paso, and Burns, who relocated to Boise in 2020, channeled cherished memories of Southwestern landscapes and joyful barrio melting pots into an evocative love letter to the desert borderlands that nourished them for over 20 years.

Cormac first became aware of Tjor in 2019 while on tour in Brazil. “Azuli” fast became a staple in his sets that
year.
An avid digger and record collector, Tjor has been mixing since 2010. He his noted for his outstanding sets at
the infamous ODD Parties in Brazil where he glides between techno, synthwave and italo influences

Gonzalo Benitez and Luis Alberto Valencia were kingpins of the musica nacional movement in Ecuador. Check them out on the cover, on a rooftop in Quito’s Old Town, surveying their dominion. In 1970, when Valencia collapsed onstage during a performance of the yaravi Desesperacion — ‘My heart is already in ashes’ — and died four days later, aged 52, his coffin was carried through those city streets on the shoulders of his fans.

They began singing as a duo in their mid-teens. During twenty-eight years together they recorded more than six hundred songs, for Discos Ecuador, Nacional, Granja, Ortiz, Rondador, Onix, Fuente, Real, Tropical, Fadisa, RCA Victor — and of course CAIFE.

Their exquisitely romantic harmonising is a sublime blend of collected forbearance and abject self-annihilation, underpinned and elaborated by the heart-piercing, improvisatory guitar-playing of Bolivar Ortiz. Effectively the third member of the group. ‘El Pollo’ sets the tone and intensity for everything that follows: listen to his soloing at the start of our opener, Lamparilla.

Musically a pasillo — a cross between a Viennese waltz and the indigenous yaravi rhythm — Lamparilla draws its verses from a poem by Luz Martinez from Riobamba, written in 1918 when she was 15, under the influence of Baudelaire and Mallarme. Another pasillo here, Sombras is one of the best-loved songs in the musica nacional canon, setting lines about undercover sex and loss by the Mexican poet Maria Pren, which were considered pornographic on publication in 1911.

And Benitez & Valencia looked back still further, to the indigenous roots of Ecuadorian music, as the key to its future. Carnaval de Guaranda is their take on a song dating back to the era of the Mitimaes, a broad group of Bolivian tribes conquered by the Incas and displaced to Ecuador. ‘Impossible love of mine / I love you for being impossible / Who loves what is impossible / Is the truest lover.’

Lovingly presented in a gatefold sleeve with spot-gloss, and printed inners, with stunning photos and expert notes. Excellent sound, drawn from original tapes, by way of Abbey Road, D&M and Pallas.