Buscar:jorge c

Das Cover von ,Liquorice", dem dritten Album der australischen Indie-Pop-Künstlerin Hatchie, zeigt ein Nahporträt von Harriette Pilbeam, die lächelt, wobei ihr verschmierter roter Lippenstift auf die glorreiche Folge eines Kusses hindeutet. Das Bild wurde während eines spontanen Fotoshootings im Hinterhof mit einer einfachen Digitalkamera aufgenommen und fängt eine Erinnerung ein, die etwas unvollkommen ist und von Sehnsucht, Begierde und Bedauern geprägt ist Das Bild wurde während eines spontanen Fotoshootings im Hinterhof mit einer kleinen Digitalkamera aufgenommen und verkörpert ein Album, das rau und voller Freude ist und sich mit Themen wie Sehnsucht, Begierde und Reue befasst. Pilbeam begann ernsthaft mit dem Schreiben von ,Liquorice", während sie von 2022 bis 2023 in Brisbane lebte, und später in einem gemeinsamen Haus mit Agius in Melbourne, wo sie die Demos schließlich Mitte 2024 fertigstellte. Als Musikerin, die ihre Einflüsse bisher offen zur Schau gestellt hat, bemühte sich Pilbeam, von Grund auf neu zu schreiben, ohne bestimmte musikalische Einflüsse im Hinterkopf zu haben. Pilbeam begann ernsthaft mit dem Schreiben von ,Liquorice", während sie von 2022 bis 2023 in Brisbane lebte, und später in einem gemeinsamen Haus mit Agius in Melbourne, wo sie die Demos schließlich , und stellte die Demos schließlich Mitte 2024 fertig. Als Musikerin, die ihre Einflüsse bisher offen zur Schau gestellt hatte, bemühte sich Pilbeam, ganz von vorne anzufangen, ohne bestimmte musikalische Einflüsse im Hinterkopf zu haben, und ließ den Songs wochenlang Zeit zum Atmen, anstatt Ideen zu überstürzen. Sie fühlte sich von der melodischen Einfachheit ihrer frühen Songs angezogen und akzeptierte ihre musikalischen Unsicherheiten: ,Ich wollte meine Grenzen als Stärken betrachten, die meinen Stil prägen." Nachdem sie mit den Produzenten Jorge Elbrecht (Caroline Polachek, Japanese Breakfast, Sky Ferreira) und Dan Nigro (Olivia Rodrigo, Chappell Roan) an ,Giving the World Away" gearbeitet hatte, wollte Pilbeam ,Liquorice" mit einem einzigen Kollaborateur fertigstellen, idealerweise einem nicht-männlichen Produzenten, der auch sein eigenes Musikprojekt vorantreibt. Im September 2024 kehrten Pilbeam und Agius nach Los Angeles zurück, um mit Melina Duterte zusammenzuarbeiten, die unter dem Namen Jay Som Indie-Rock aufnimmt und an einer Reihe von Projekten mitgewirkt hat, darunter das mit einem Grammy ausgezeichnete Album ,The Record" von boygenius. ,Mein letztes Album ist sehr düster und introspektiv geworden, und das ist zwar ein Teil von mir, aber es gab noch eine ganz andere Seite, die ich nicht zum Ausdruck gebracht habe", sagt Pilbeam. ,Ich bin eine hoffnungslose Romantikerin und eine sehr alberne Person, manchmal sogar bis zum Äußersten." Die heute 32-jährige, verheiratete Pilbeam stellte fest, dass ,ewige Gefühle" der Sehnsucht und des Herzschmerzes schnell zurückkehrten, als sie über ihre Erfahrungen als jüngere Frau nachdachte. Gleichzeitig ließ sie ihre Vorliebe für tragische Liebesfilme einfließen, in denen die Figuren nicht unbedingt ein gemeinsames Happy End finden. Liquorice beschäftigt sich mit der Endlichkeit des Ewigen. Diese Songs fangen die überwältigenden, berauschenden und transformierenden Nebenwirkungen der Verliebtheit ein, auch wenn die gesamte Liebesgeschichte nur eine einzige magische Nacht dauert. Wie die reichhaltigen Aromen der gewundenen, titelgebenden Süßigkeit - süß, salzig und bitter in einem Bissen - bestätigt Liquorice, wie Sehnsucht und Besessenheit in der Selbstfindung einer jungen Frau miteinander verflochten sind.

The original album + 6 bonus tracks - limited edition pressing on 180g vinyl
The most talented bossa nova group of the '60s, Tamba Trio perfected a breezy,
swinging version of bossa nova vocal jazz that proved incredibly influential in Brazil
and throughout the world.
Comprising pianist Luiz Eca, bassist Bebeto, and drummer Helcio Milito, the trio not
only played a wide range of instruments but also contributed incredibly close vocal
harmonies. Presented here is their debut album, 'O Barquinho' (Little Boat), which was
a huge hit in Brazil and throughout South and Central America.
One of their later recordings, a rendition Jorge Ben's ' Mas, que nada!' ( But That Is
Nothing!) and included here as a bonus, became their best-known hit, and used most
famously by Nike in a 1998 World Cup television commercial.

A samba funk essential. This debut album from Jorge Ben's iconic backing band blends Brazilian rhythms, soulful vocals, and American funk energy into one unforgettable groove. Includes the hit single 'Coqueiro Verde' along with standout tracks like 'Meu País,' 'Aleluia, Aleluia,' and 'O Canto da Ema.' A timeless gem for fans of Brazilian soul, vintage funk, or global grooves. Trio Mocotó is best known for being the powerhouse backing band behind Brazilian legend Jorge Ben during the height of his creative explosion in the early 1970s. But their contribution to music goes far beyond the supporting role-they were instrumental in shaping what would become known as samba funk, a vibrant fusion of traditional Brazilian rhythms with the groove and energy of American soul and funk music. Formed in Sao Paulo's iconic Jogral nightclub, Trio Mocotó-featuring Fritz Escovao, Joaozinho Parahyba, and Nereu Gargalo-began their musical journey as resident musicians, providing live accompaniment for a rotating cast of performers. It was here that Jorge Ben first encountered their raw talent and unmistakable chemistry, ultimately inviting them to join his band. The collaboration would go on to define an era. In 1971, Trio Mocotó stepped into the spotlight with their debut solo album, "Muita Zorra! (...Sao Coisas Que Glorificam a Sensibilidade Atual)." The record made an immediate impact, climbing the charts with the infectious single 'Coqueiro Verde' and marking the start of a prolific period in the group's career. "Muita Zorra!" is a dazzling blend of styles-mixing the baroque funk and melodic sophistication of artists like Marcos Valle with the soulful spirit of Jorge Ben. Layered with elements of American funk, the album delivers a dynamic, rhythm-driven sound that still feels fresh today. The trio's vocal harmonies are front and center, weaving through each track with warmth and richness, creating a captivating sonic tapestry that energizes every beat. This album isn't just a snapshot of a musical moment-it's a cornerstone of Brazilian soul. A must-listen for fans of global grooves, vintage funk, and timeless Brazilian music, "Muita Zorra!" is once again available and ready to take its well-deserved place in your collection. First time official reissue.

Limited to 250 copies. Death comes to us all. Emmerhoff & The Melancholy Babies do not shy away from this irrefutable fact. The band, celebrating their 30th anniversary in 2026, may now rightly consider themselves distinguished "elder statesmen" of rock. With such perspectives also comes the recognition of the transience of life. There are now more funerals than weddings lingering on the horizon, and the ranks of both the idols of our youth and contemporaries on the music scene are beginning to thin. "The Dying of The Light", its title taken from Dylan Thomas' iconic poem, contemplates and embraces the twilight of life, but also, in the spirit of the poem, fighting spirit and stubborn resistance to the inevitable. Death will come, but until then we will create music and celebrate life. October 2025 will see the release of the band's seventh studio album, recorded at Duper and Solslottet Studios in Bergen, produced by Iver Sandoy and Jorgen Træen.. The music reflects the sombre thematic while also being vital and vigorous. The range is wide, from delicate contemplation to powerful outbursts, strictly composed in one moment and loosely improvised in the next.

Mr Bongo proudly presents, ‘AFIM’, the second solo album by one of Brazil’s most exciting new talents, Zé Ibarra. You may be familiar with the hypnotic, entrancing tones of Ibarra’s vocals through his work with the Latin Grammy award-winning, four-piece, Bala Desejo and the band Dônica. He has also toured with the musical titan, Milton Nascimento, performing guitar and vocals, which is quite the honour and a testament to Ibarra's craft. As a solo artist, he has performed headline solo shows in Japan, Portugal and the US, as well as recently completing a support tour with the great, Seu Jorge.

‘AFIM’ is comprised of eight tracks, featuring Zé’s own compositions as well as cover versions of tracks by contemporaries and friends, Sophia Chablau, Tom Veloso, and Dora Morelenbaum. It combines elements of MPB, jazz, pop and progressive rock in a bold, authoritative style. The album represents the intersection between different facets of the artist, from the stripped-down, intimate, guitar singer-songwriter, to dense arrangements with sweeping strings sections. Writing this album allowed Ibarra "to explore sides of myself that had not yet been organized in an album: a certain darkness, a more cinematic musicality, a desire for new soundscapes.

The album features the single, 'Transe', a song with an instantly comforting tone reminiscent of classic Brazilian songs of the past (think Caetano Veloso). It is built on a rhythmic guitar that supports dynamic sound layers, opening space for Ibarra's intense interpretation. Cinematic atmospheres that lend an air of mystery come courtesy of string arrangements by Jaques Morelenbaum.

His unique cover version of Sophia Chablau's 'Segredo' is equally compelling, taking Sophia's punky-indie original in a different direction and making it feel like his own. 'Essa Confusão', a song celebrating the intensity of love and co-written by Dora Morelenbaum, is steered into epic, 70's AOR, singer-songwriter territory with wind arrangements by Ibarra, Jorge Continentino and strings by Jaques Morelenbaum.

The album is the result of the collaboration of experienced musicians and long-time partners of Ibarra. Fellow Bala Desejo and Dônica member Lucas Nunes co-produced the album. The core band featured on the record consists of Lucas Nunes on organs, Alberto Continentino on bass, Daniel Conceição and Thomas Harres on drums and percussion, Rodrigo Pacato on additional percussion, Chico Lira on Fender Rhodes and Guilherme Lírio on guitar.

The overall feel of the record is archetypically quintessential without slipping into retro mode. It is a stunning album from one of the finest musicians of his generation. A true star of Brazil’s blooming contemporary scene.

Originally released in 2009, Céu"s Vagarosa is a landmark of 21st-century Brazilian musicc- a lush, genre-blurring journey that weaves samba, dub, psychedelic soul, and electronic textures into a sound cboth timeless and futuristic. Now reissued on vinyl, this essential album invites listeners to rediscover its warm, analog charm. From the opening track "Sobre o Amor e Seu Trabalho Silencioso," with its cavaquinho and vinyl crackle, to the dub-infused "Cangote," where organ swells and basslines intertwine, Vagarosa showcases Céu"s ability to blend traditional Brazilian rhythms with global influences. Her reinterpretation of Jorge Ben"s "Rosa Menina Rosa" transforms into a psychedelic swirl of reverb and phasing effects, maintaining its breezy essence. The album"s closing track,"Espaçonave," features rainforest sounds and multi-tracked vocals layered over fuzzed-out guitar, reminiscent of the art-pop sensibilities of artists like Natalia Lafourcade. Critically acclaimed upon release, Vagarosa reached No. 2 on the US Billboard World Music chart and was nominated for a Latin Grammy Award for Best Brazilian Contemporary Pop Album in 2010. Its innovative production and Céu"s ethereal vocals have cemented its status as a modern classic in Brazilian music. This vinyl reissue captures the album"s rich textures and sonic depth, offering both longtime fans and new listeners an opportunity to experience Vagarosa in its full analog glory. Remastered by Colorsounds Paris.

Valencia-based band Wau y Los Arrrghs!!! is made up of five punk rock hooligans as raw and real as chaos itself - led by one of the wildest frontmen around, Juanito Wau. Yes, there's garage rock here, no doubt - but you'll also find blasts of punk, rock 'n' roll, pop, and even a splash of surf. After many years unavailable, we are now delighted to reissue their second album "¡¡¡Viven!!!" (2009) featuring new artwork by Mik Baro. It includes their classic originals 'Copa, raya, paliza' and 'Viva Link Wray!!!' as well as a bunch of wild cover versions of Los Mockers, The Lyrics, The Troyes, The Hatfields, Jonah & The Whales_ The album was produced by Jorge Explosion (Dr. Explosion) and Mike Mariconda (Raunch Hands, Devil Dogs), and recorded at the celebrated Circo Perrotti Studios in Gijón. Please welcome again the undisputed kings of garage punk!

Valencia-based band Wau y Los Arrrghs!!! is made up of five punk rock hooligans as raw and real as chaos itself _ led by one of the wildest frontmen around, Juanito Wau. Yes, there's garage rock here, no doubt _ but you'll also find blasts of punk, rock 'n' roll, pop, and even a splash of surf. This joint release with Slovenly Records brings back two anthemic tracks from Spain's undisputed kings of garage punk! Originally produced by Jorge Explosion over a decade ago, "Copa, raya, paliza" and "Es un buen día" are guaranteed party-starters no garage DJ should be without. Pressed on neon pink vinyl.

Founded in 1966, The Beachers is a group whose music is inspired by Caribbean rhythms and Panama’s musical tradition. Calypso, salsa and bolero are part of the unique Beachers sound, whose popularity peaked in the 70s during what is known as “The Golden Era of National Combos”. The Beachers have released 13 albums and more than 30 singles to their name, on prestigious Panamanian record labels like Tamayo, Loyola, or Sally Ruth Records, teaming up with other Calypso legends such as Lord Cobra.

The Beachers are still current and relevant, with five of the original members performing constantly through Panama and the world. Their energy and spirit is felt in the joy, rhythm and flavor of their songs.
Lloyd Gallimore, the band’s musical director since its foundation, and renowned producer Billy Herron have been working together on this new album, commemorating the group’s 50-year career.

This recording relives The Beachers’s magical trajectory and features collaborations with popular Panamanian musicians, a work that displays a sonic landscape filled with the history and legacy of Panama’s Calypso. It’s a tropical musical fantasy whose Caribbean influence has transcended time.

Carpet & Snares boss Jorge Caiado is back under a new Caiado LDA alias with two tracks originally commissioned by Thomas Melchior for his My King Is Light project, now released through the Carpet/Patterns sublabel. 




Both sides strike a philosophical, almost spiritual tone, but for quite different ends. The A side ‘Process’ uses its tight skippy groove and central acid line as the foundation for peak-building Carl Craig drama, while the B side ‘Neverending Dream’ lands on a more tripped-out mood for the after- afters. Watch this space for more Caiado LDA material on the way!

Just when you thought the series was over, here comes a surprise fifth 12", which includes four tracks from the compilation, re-dubbed by Dj Sotofett

Protector Edition: Amethyst Swirl Vinyl. Mit "Sharon Van Etten & The Attachment Theory" präsentiert Sharon Van Etten eine aufregende neue Dimension ihres Sounds und Songwritings. Zum ersten Mal wurde das Album in völliger Zusammenarbeit mit ihrer Band - Jorge Balbi (Schlagzeug, Maschinen), Devra Hoff (Bass, Gesang) und Teeny Lieberson (Synthesizer, Klavier, Gitarre, Gesang) - geschrieben und aufgenommen, was Van Etten genau die Freiheit gab, die sich aus dem Loslassen ergeben hat. Die Themen sind zeitlos, klassisch Sharon, aber die Klänge sind neu, vollständig realisiert und scharf wie Glas. Diese neue Herangehensweise begann während der Proben in der Wüste für eine bevorstehende Tournee, als Van Etten ihre Band in den kreativen Prozess einbezog: "Zum ersten Mal in meinem Leben habe ich die Band gefragt, ob wir einfach jammen können. Worte, die nie aus meinem Mund kamen - niemals! Aber ich liebte alle Sounds, die wir bekamen. Ich war neugierig - was würde passieren?" Offenbar Magie. "In einer Stunde schrieben wir zwei Songs, aus denen schließlich "I Can't Imagine" und "Southern Life" wurden." Das Album wurde im ehemaligen Studio der Eurythmics, The Church, aufgenommen, das perfekt zu der mystischen Mischung aus Elektronik und analogen Texturen der Band passt. Die Produzentin Marta Salogni (Björk, Bon Iver, Animal Collective, Mica Levi) war sowohl als Bindeglied als auch als Produzentin unverzichtbar, da sie "die Synthesizer liebte und einen Sinn für Abenteuer hatte" und es verstand, "die Dunkelheit und die einzigartigen Klänge zu umarmen, die wir während des Schreibprozesses entwickelt hatten", so Van Etten. Über diese neue künstlerische Geisteshaltung und die Kunst des gemeinsamen Schreibens sinniert Van Etten: "Manchmal ist es aufregend, manchmal ist es beängstigend, manchmal fühlt man sich festgefahren. Jeder Tag fühlt sich ein wenig anders an - einfach in Frieden zu sein mit dem, was man fühlt und wer man ist und wie man in diesem Moment zu den Menschen steht. Wenn ich einfach offenbleiben kann und gleichzeitig weiß, dass sich meine Gefühle jeden Tag ändern, ist das alles, was ich im Moment tun kann. Das und versuchen, die beste Person zu sein, die ich sein kann, während ich andere Menschen so sein lasse, wie sie sind, und es nicht persönlich nehme und einfach nur bin. Ich bin noch nicht so weit, aber ich versuche, jeden Tag so weit zu sein." Mit "Sharon Van Etten & The Attachment Theory" vertieft Van Etten den Diskurs, der einen Großteil ihres Katalogs belebt, und erforscht, was es bedeutet, einfach nur ein Mensch zu sein. Das ist ihr Genie - schräg, aber auch relevant und persönlich.

For its third installment, NEUMA presents As Above, So Below—a collaborative
release by Matteo Manfellotti and Jorge Gamarra. On the A-side, Waveratio’s
Distorted Analytics and Heart of Darkness set the tone with a fusion of techno,
electro, and trance-infused energy. The B-side features both producers working
together under their new project, Former Being, delivering tracks that maintain
the same intensity while shifting toward a more EBM-influenced sound, marked
by evolving structures and a mysterious atmospheres.

Jetzt auch auf Vinyl: Musikalische Mitteilungen aus Oslo, New York, Basel und Lugano – aufgenommen zwischen 2018 und 2022 – werden auf dieser fesselnden Aufnahme, auf der der norwegische Schlagzeuger Thomas Strønen solo und in einer Reihe von Duetten zu hören ist, einander gegenübergestellt und neu kombiniert. Mit unterschiedlichsten Partnern wie Craig Taborn, Chris Potter, Sinikka Langeland und Jorge Rossy ist der musikalische Bezugsrahmen breit gefächert. Elemente von Langelands archaisch anmutendem Folk bis hin zu Potters Post-Coltrane-Saxophon und Taborns wirbelndem modernistischem Klavier finden alle ihren Platz in einem Projekt, das neue Verbindungen und kreative Beziehungen impliziert. Das Album wurde im Februar 2023 von Strønen und dem Produzenten Manfred Eicher in den Bavaria Musikstudios in München fertiggestellt und gemischt.

Ein neues musikalisches Projekt des renommierten, französischen Studio-Cracks Renaud Letang mit Freunden & Familie: Feist - Connan Mockasin - Benny Sings - Chilly Gonzales - Jamie Lidell - Saul Williams - Vladimir Cosma - Philippe Katerine - Infinite Bisous - Jerry Paper - Chuuwee - Mel D. Produziert Von Renaud Letang + Chilly Gonzales. Aufgenommen In Den Studios Ferber.

Das Album eines Lebens. Oder besser gesagt eines halben Lebens, das er seit seinem 18. Lebensjahr im Schatten der Aufnahmestudios verbracht hat. Unter dem facettenreichen Pseudonym DRIFT ist 'At The Party' ein Album von Renaud Letang, einem der weltweit renommiertesten und gefragtesten französischen Toningenieure und Produzenten der letzten drei Jahrzehnte. ManuChao, Chilly Gonzales, Feist, Mathieu Booagerts, Lianne La Havas, Philippe Katerine, Saul Williams, Jane Birkin, Seu Jorge, Micky Green, Connan Mockasin und Amadou & Mariam zählen zu seinen Klienten.
Seit Jahren bereitet der Victoires de la Musique-Preisträger und Grammy-nominierte Letang heimlich mit all seinen Künstlerfreunden im Keller der Studios Ferber ein Albumprojekt vor.
Sein kanadischer Komplize Chilly Gonzales, mit dem er in den 2000er Jahren das erfolgreiche Produzenten-Tandem VV bildete, hat ihn ermutigt, seine Songs zu veröffentlichen. Renaud Letang versteht seine Kompositionen als "Driftmusik" mit einer breiten stilistischen Palette - von sonnigem Disco-Pop (At the Party, Working on Me) bis hin zu Jazz-lastigen Sounds ('Papaya', 'A Night In Waimea'), von futuristischem Hip-Hop ('Cosmic Drift', 'That's All') bis hin zu traumhaften Tracks ('Très Gentiment In Waimea'). Das Wort DRIFT, das facettenreiche Pseudonym, das Renaud Letang gewählt hat, beschreibt genau diese ständige Bewegung, die sich wunderbar in dieses kollegiale Album einfügt: Feist, Chilly Gonzales, Connan Mockasin, Benny Sings, Philippe Katerine, Jamie Lidell, Saul Williams, Infinite Bisous, Jerry Paper, Chuuwee, Mel D und Vladimir Cosma sind alle in den Credits des Albums zu finden. Eine faszinierende musikalische Reise, die sowohl an einem sonnigen Tag als auch nach Einbruch der Dunkelheit zu hören ist. Der Soundtrack des Sommers mit der Besetzung des Jahres.
Erhältlich als Digisleeve und Doppel-LP (Black Vinyl).

Carwyn Ellis & Rio 18 release their new album "Fontana Rosa". Possibly the world's only musical group to fuse Latin music of all kinds with the Welsh language, this time Rio 18 draw inspiration from slightly different musical corners, including Chicano Soul, Nuyorican pop, and Salsoul disco plus Latin sounds filtered through the cultural spectrum of the USA.

Most significantly though, the album was among the last ever to be recorded by the acclaimed producer Liam Watson at his legendary studio and shrine to all things analogue, Toerag Studios - a huge inspiration and influence on Rio 18's Carwyn Ellis. The "Fontana Rosa" sessions saw Ellis draw together an all-star band at the fabled studio which is perhaps best known through its place in the White Stripes history.

Talking about the story and gestation of the album, Carwyn said:

"I was in Mexico City with Baldo Verdú when I heard that Toerag Studios in London was going to close. It came as a shock - Toerag and Liam Watson, its owner and resident producer had been a massive influence on me. Liam, along with Edwyn Collins, had taught me much of what I know about recording, had hired me as an instrumentalist on countless sessions and had helped me to get started when I began my own solo career. And over the years, I'd still go in to record with Liam whenever the opportunity arose. When I heard that Liam was shutting up shop, I took it upon myself to try and ensure he went out with a musical bang. I rounded up the best band I could get: the aforementioned Venezuelan percussion wiz and singer, Baldo Verdú: American drummer, multi-instrumentalist and producer Shawn Lee: the Isle of Wight's finest drum and percussion master, producer and composer Rupert Brown (whom I'd originally met at Toerag many moons ago): Elan Rhys, one of Wales's finest voices and long term collaborator with Rio 18, as well as being one third of the wonderful folk group, Plu: and Kassin - my Brazilian brother from Rio de Janeiro, bassist and producer with artists such as Jorge Ben, Caetano Veloso, Gilberto Gil and a multitude of others, including Carwyn Ellis & Rio 18.

So this was my dream team, assembled to make beautiful music one more time at Toerag (I have to add at this point that Shawn and Rupert hit it off so well at our sessions that they booked their own session shortly afterwards! Look out for the brilliant Shawn Lee's Toerag Orchestra 'Percussion Discussion' album). Toerag, if you're not familiar with the place, made its name as London's foremost analogue studio for some 30 years, recording directly to tape which in essence means musicians playing live, together in a room until they get it right. And the sound? Oh the SOUND!! And this is all Liam Watson's doing, his sonic aesthetic - a real master engineer. The studio is perhaps best known as the place where the White Stripes recorded their monster hit album 'Elephant' but for me it's where I got to record with James Hunter, Lay Low (from Iceland), Quruli (from Japan), Fabienne Delsol (from France) and made many lasting friendships, learnt a great deal about popular music, as well as making a bunch of my own best recordings with Colorama.

Over the course of five days we laid down as much music as we could. We had some visitors too: guitar slinger Little Barrie (Primal Scream, The The and Liam Gallagher among other things, but also my dear bandmate in Edwyn Collins's band): sax and flute maestro Jim Hunt (Amy Winehouse, Primal Scream, Duffy and very many others): and Diego Laverde Rojas, the Colombian Latin harp virtuoso.

This time the music had a slightly different edge - although we still maintained our Brazilian/Welsh connection on 'Deffro'r Dydd' (written with and sung by Elan Rhys), our Cumbia vibe and some Merengue ('Mariposa' and 'Te Adoro', sung by Baldo Verdú) and even a traditional Afro-Venezuelan tune ('La Quichimba', again sung by Baldo) - the main influence for me this time was Latin music as recorded in the USA, both new and old. 'No More Secrets' is a straight up slice of Salsoul disco, while 'Hei Ti' is a punky funky but of Nu Yorican pop somewhere between ESG and the Beastie Boys. But one of my main influences in the last couple of years has been the current wave of Chicano Soul coming from California, particularly via the Penrose and Big Crown labels. I was turned on to this music when I was in Japan in early 2023 - Takashi-san at Pleased To Meet Me Records in Nara played me the Altons' 'Float' and I was hooked!

And that music has a similar aesthetic to Toerag: music recorded live to tape by excellent engineers, performed by fine musicians and singers. So our songs 'Impossible', 'Heartbreaker' and 'Lovesick' are very much in this vein. And that just leaves the title track, 'Fontana Rosa'."

On his second solo album, "Gamle Mester" (Old Master), Lars Fredrik Froislie pays homage to the greats of the past. Drawing inspiration not only from the pioneers of progressive rock but also from art, literature, and mythology, the album reflects on timeless acts of creativity that still resonate today. The title is derived from the ancient oak tree "Den Gamle Mester," found at Krodsherad Prestegård, which also inspired a poem of the same name by Jorgen Moe. This symbolic tree serves as a unifying theme throughout the album, representing wisdom, endurance, and the passage of time. From the opening track "Demring" (Dawn) to the closing "Skumring" (Dusk), the album embarks on a dynamic journey filled with masterful instrumentation and some of Froislie's most compelling songwriting to date. The album reaches its crescendo with "De tre gratier" (The Three Graces), named after the daughters of Zeus. Spanning 12 minutes, this opus encapsulates everything that makes "Gamle Mester" a triumph. Shifting between light and dark, the track is a treasure trove of rich keyboard textures, soaring flute melodies, dynamic percussion, and the virtuosic bass work of Nikolai Hængsle. With "Gamle Mester," Lars Fredrik Froislie delivers an album steeped in history, mythology, and musical brilliance. A must-have for progressive rock enthusiasts and collectors alike.

Marbled vinyl, limited to 600 copies. On his second solo album, "Gamle Mester" (Old Master), Lars Fredrik Froislie pays homage to the greats of the past. Drawing inspiration not only from the pioneers of progressive rock but also from art, literature, and mythology, the album reflects on timeless acts of creativity that still resonate today. The title is derived from the ancient oak tree "Den Gamle Mester," found at Krodsherad Prestegård, which also inspired a poem of the same name by Jorgen Moe. This symbolic tree serves as a unifying theme throughout the album, representing wisdom, endurance, and the passage of time. From the opening track "Demring" (Dawn) to the closing "Skumring" (Dusk), the album embarks on a dynamic journey filled with masterful instrumentation and some of Froislie's most compelling songwriting to date. The album reaches its crescendo with "De tre gratier" (The Three Graces), named after the daughters of Zeus. Spanning 12 minutes, this opus encapsulates everything that makes "Gamle Mester" a triumph. Shifting between light and dark, the track is a treasure trove of rich keyboard textures, soaring flute melodies, dynamic percussion, and the virtuosic bass work of Nikolai Hængsle. With "Gamle Mester," Lars Fredrik Froislie delivers an album steeped in history, mythology, and musical brilliance. A must-have for progressive rock enthusiasts and collectors alike.

Long awaited, here is the 4th volume of the Mighty Mellow collecon, from the curators of the
seminal series The Mood Mosaic. Mushy funk, abstract jazz, including tacks of Pete Jolly, Annete
Peacock, Dusty Springfield among the others.

13 years in the making, Mr Bongo proudly presents a new compilation of beloved Brazilian disco and boogie finds from the legendary London disco connoisseurs, Horse Meat Disco. A labour of love, it showcases a tantalising cross-section of disco, funk, boogie, samba and MPB, from past to present. Unearthing tracks from the seemingly endless gold mine of Brazilian gems, the compilation features legends such as Jorge Ben, Gretchen, Marcos Valle and Robson Jorge & Lincoln Olivetti, alongside unsung heroes including Zé Carlos and Carlos Bivar.

Over 20 years ago, the Horse Meat Disco crew (James Hillard, Severino Panzetta, Jim Stanton and Luke Howard) began their weekly residency at Eagle London back in 2003. That same year, Luke made his first visit to Brazil, beginning a musical love affair that is still going strong.

“I had always wanted to go to Brazil since I was a kid, and when I finally had the opportunity to go with Princess Julia, I was just blown away. I’ve visited Rio every year since 2003, and in that time, I’ve learned Portuguese and tried to discover as much as I can about Brazilian music and popular culture. I learned to dance samba with the Paraiso School of Samba in London and paraded three times at Rio Carnival. Brazilian music was a brand-new world for me to explore and get excited about—a whole universe of genius musicians, singers, and styles.”

9 years later, Mr Bongo invited Luke down to their Brighton HQ for a listening session of some of his favourite Brazilian boogie and disco 7" finds. A compilation was green-lit, but multiple licensing delays and the release of other HMD compilations meant that it lay dormant for years.

Fast forward to 2024, and with the help of esteemed, Rio-based record collector Tee Cardaci, along with suggestions from HMD’s James Hillard, the dream of an HMD Brazilian compilation finally materialised. It’s a carefully curated collection that includes the electronic-boogie/italo-disco-esque 1984 groover 'Venha (Remix)' by the singer Źe Carlos, two cuts by Luiza Maura taken from her sought-after Deixa Girar 7", and Gretchen's sultry 'Ela Tem Raça, Charme, Talento E Gostosura' written by Jorge Ben.

At its core, this compilation captures the excitement and sense of discovery that won over Horse Meat Disco’s heart more than 20 years ago. A vibrant mix of feel-good flavours, it homes in on a sun-soaked strand of disco and boogie that has been enriched with the spirit of a nation where music serves as a central pillar of life.

Our much in-demand series of classic Brazilian 45’s are back! Featuring a vibrant new design, we’ve curated yet more wants-list regulars and unearthed fresh finds from Brazil that are destined to become collector’s items in their own right.

Number 80 in our Brazil.45 series, aptly sees a double-sider focusing on the awesome 80’s recordings by one of the giants of Brazilian music, Jorge Ben.

First up is the addictive, building groove of ‘Curumin Chama Cunh t Que Eu Vou Contar (Todo Dia Era Dia De ndio)’. Taken from the ‘D diva’ album from 1981, and originally released on Som Livre Records. A homage to the indigenous people and tribes of Brazil. The flip features one of Jorge’s most beloved Brazilian-Boogie joints, ‘Rio Babil nia’, which celebrates life in Rio, partying, the beach, and the city’s iconic monuments.

The song was originally released on a compacto and taken from the ‘D diva’ album from 1983, it features arrangements by the late-great, Lincoln Olivetti.

*Repress*

180gr) 10 YEARS ON, ARTHUR VEROCAI'S ENCORE GETS A VINYL RELEASE. The highly anticipated follow up to Arthur's eponymous debut album from 1972, Encore saw Arthur joining the dots over 35 years to createa modern classic of Brazilian music that, like his debut, combined Brazilian influences with his take on American soul and cinematic experimentation, and shows Arthur's sound is as poignant now as it ever was.
To celebrate the album's 10th anniversary, Far Out Recordings announces the first ever vinyl edition of Arthur Verocai's 2007 masterpiece Encore. Remastered from the original tapes, Encore features 11 original compositions from Arthur with guest musicians including Azymuth, Ivan Lins and a nine-piece string section. The highly anticipated follow up to Arthur's eponymous debut album from 1972, Encore saw Arthur joining the dots over 35 years to create a modern classic of Brazilian music that, like his debut, combined Brazilian influences with his take on American soul and cinematic experimentation, and shows Arthur's sound is as poignant now as it ever was.

In the mid-2000's, following on from Marcos Valle, Joyce and of course Azymuth, Arthur Verocai joined the long-line of Brazilian musicians whose music was to be introduced to a whole new legion of fans by Far Out. The story of 'Encore' of course begins with Joe Davis, Far Out's head honcho who stumbled upon Arthur's debut in a dusty record store in downtown Rio in the late 80s. At the time of its release in 1972 critics panned Arthur's debut and both the album and artist subsequently vanished into obscurity. Fast forward to winter 2004 and Joe's at the studio of Far Out Recording artists Harmonic 313 - aka production duo Mark 'Troubleman' Pritchard and Dave Brinkworth - playing them some of his favourite Brazilian albums. Dave recalls the moment Joe put on Arthur's debut, 'As soon as the needle hit the record and we heard the fantastic arrangements, songs and sounds, Arthur completely blew our minds'.

Three months later and Dave was in Brazil with Arthur Verocai, and the plans for what was to become 'Encore' were being laid down. Produced by Dave, 'Encore' sees Arthur on incredible form, the 35 plus years between the recording of his debut and this the follow-up just melting away as Arthur picked up the (conductor's) baton once again to create 11 epic tracks of stirring samba-soul and experimental cinematic movements that sees him creating a record to rival his debut.


Born in Rio de Janeiro on 17 June 1945, Arthur Verocai began his professional music career in 1969 and over the next few years he was responsible for the orchestration of albums by Ivan Lins, Jorge Benjor, Elizeth Cardoso, Gal Costa, Quarteto em Cy, MPB 4 and Marcos Valle, among others. In the 1970s he was hired by Brazil's biggest TV station, TV Globo, as musical director and wrote the arrangements for many of the stations biggest shows. In 1972, following the success Arthur had with the production of Ivan Lins 1971 album "Agora", Arthur recorded his self-titled debut album on Continental Records. 'Arthur Verocai' challenged the musical conventions of the day, combining Brazilian influences with folksy soul and lo-fi electronic experimentations of American artists like Shuggie Otis or the orchestration of producer Charles Stepney.

All The Hits is the speedy follow up to Myriad Myriads’ debut album, Shardcore (released on Trilogy Tapes in September 2024). 200 vinyl pressed. Myriad Myriads was FKA Bass Clef. Wrong Speed Records have released two albums by Bass Clef (the 2020 limited vinyl reissue of 2011 cassette Inner Space Break Free and 2021 album Magnetic Chapters). Both organic and beautiful, both differing takes on electronic dancefloor - from 70's Germany, late 80's UK, and 90's Detroit. Myriad Myriads closed out the 2024 Wrong Speed Fest Weekender in the back room of a rowdy pub in Glastonbury (real Glastonbury, not Pilton). To watch up close and see the physicality was rapturous, to hear this music at volume positively transformative. All The Hits, recorded in Myriad Myriad's hometown of The Hague, Netherlands, is Carl Stone meets Sonz Of A Loop Da Loop Era. Carl Cox meets Harmonia. It's a headphone monster. Through a PA it will destroy. At home it's a living room shuffle, a synapse burster. It's a privilege for us to somehow be in the position to release records by Myriad Myriads / Bass Clef. We've known him for a long time. He's remixed a couple of Hey Colossus tunes. Check out the recent Patrick Cowley/Jorge Socarras covers 12" You Laugh At My Face on State 51 Conspiracy. His 22-minute-long reworking is a masterpiece. We love to be connected. We love Wrong Speed Records switching from Part Chimp to Myriad Myriads and on to Deep Cabaret via Jacken Elswyth. All come from the same place, if you feel it you know. This is our record collection

There is no one universe for Ben LaMar Gay, he just sonic booms from one sound to another." - NPR Music
Ben LaMar Gay’s de facto debut album, Downtown Castles Can Never Block The Sun, was our attempt to introduce the legendary Chicago composer / improvisor / renaissance man to the rest of the world with a compilation of tracks from “7 albums he made over 7 years but never made the effort to actually release. ” The material showcases Gay’s penchant for genre-hopping—from Reich-ian soundscape voyages to Don Cherry-esque polyrhythm treks to Jorge Ben-style vocal-and-string earworms—while keeping his singular musical voice in focus.
In the years since its release, this long OOP collection has become a touchstone, foreshadowing the breadth and scope of Ben LaMar Gay’s output since. The songs-between-the-songs warped Soul Americana madness and beauty of Open Arms To Open Us, the unhinged long form freedom of Certain Reveries—each fresh mode would defy expectation if without the context established by Downtown Castles. To quote the OG press release, “to call it ‘eclectic’ would only scratch the surface. This music is everything.

Two records came out in 1988 that forever changed the perception of "experimental" or "serious" music produced in Portugal. These were "Plux Quba" by Nuno Canavarro and "Música de Baixa Fidelidade" by Tózé (António) Ferreira. Both were released by the same label - Ama Romanta -, an influential independent imprint closely linked to avantgarde pop band Pop Dell'Arte. Because those records appeared in what could be perceived as an "alternative pop" framework, they rescued this difficult music from Academia. It helps that Canavarro played in a successful new wave pop band (Street Kids) during the period 1980-83. By association, being a friend since 1976, António was in close contact with many of the musicians and bands that were part of the equally celebrated and detested Portuguese Rock Boom (roughly 79-82).

He was not a musician then but through his friendship with Canavarro, who had the means to acquire electronic equipment, António became involved with that equipment and shared Canavarro's passion for experimentation and curiosity for knowledge. They tried to get hold of as many technical magazines as possible and learn while testing ideas. In 1983, Street Kids were about to break up, young lives drafted into the Army and maybe, in Canavarro's case, a whole new passion for challenging music similar to his bandmate Nuno Rebelo, by then in the process of discovering a wide range of "other" music mainly through Jorge Lima Barreto. Barreto, who had started Telectu with Vítor Rua, possessed a huge book and record collection and, like Rua before them, Canavarro, Rebelo and Ferreira became fascinated by the pool of knowledge they now had access to by frequenting Barreto's house in Lisbon. He was roughly a decade older, had published several books and other writings throughout the 1970s, cultivated an anarchic stance and a penchant for cultural indoctrination. Rebelo was the first to be introduced via his contact with Rua (who had invited him to play in his other band GNR).

Overwhelmed, he felt the need to share his enthusiasm with friends and eventually took a few to the house in true pilgrimage fashion. To see the Light. Among the few he led there was even João Peste, founder of Ama Romanta. Canavarro and Ferreira preceded him.

Ferreira recalls an exciting learning process added to his experiments with Canavarro's array of synths such as the Korg Ms 20, Korg polysix, ARP Axxe, Roland SH-01, the Ensoniq Mirage sampler... He read in a magazine article about someone who had studied at the Institute of Sonology (then in Utrecht, Netherlands) and went there during a vacation trip in the Summer of 1983. He became excited by the prospect of studying at the Institute but money was a problem. Canavarro, on the other hand, was admitted there in the following year. Back in Portugal, Ferreira eventually abandoned his Chemical Engineering studies in Lisbon's Technical Institute in favour of a more focused music practice. He collaborated with Telectu during 1984 and 85 as a sort of technical engineer, implementing some recording solutions and background tapes and went to work at a thermoelectric power plant in Sines, hoping to make enough money to fund his musical studies. He did and proceeded with the paperwork for admission at the Institute of Sonology, now based in The Hague. António studied there in 1986-87 and the present album includes two compositions developed at the Institute: "More Adult Music" and "This Is Music, As It Was Expected", both featuring the voice of Rodney Waschka II. Among other activities and talents, Rodney is an expert in computer music and to António his voice sounded similar to Robert Ashley's, whose work he admired.

What happened at the Institute was a systematization of António's self-taught practice. Computer software, Musique Concrète, noise and silence, organisation of abstract ideas and sounds. The original notes on the back sleeve of the LP give some indication of process and thinking, but a more detailed account was given by António in the liner notes of the CD reissue in 2002, which are also included in this 2025 LP reissue.

The music sounds deep and detailed, despite the fact of António calling it low-fi ("Baixa Fidelidade"). It flows like an improvised performance where several musicians might be responding to each other, respectful of their mutual space. Drama occurs, as a natural emotional connection is sought by the listener. Piano, bells, drone, processed voices, even the clear narrative of Rodney Waschka II, contribute to create a sort of alternative perceptual reality. The sounds are almost tangible, more a part of the physical world than ethereal manifestations and thus it would not be correct to invoke "ambient music" as a selling point. But although "physical" and distinct, this music is still alien, more so in Portugal's 1988 environment. In March, helped by Canavarro, António set up a home studio and there he recorded the remaining material for this album: "Algumas Pessoas Olharam O Sul E Viram Deserto", "Um Som, Seguido De Uma Cena Negra E Malva" and "O Verão Nasceu Da Paixão De 1921".

"Música de Baixa Fidelidade" stands not only as a proof of great resilience but as one of those magnificent works of art coming from someone who balanced technical inclination and emotional sensibility. Because of that, Tózé Ferreira is able to decode the phantom world of sound for anyone who cares to experience the sensation of inhabiting a version of the Future. First ever vinyl reissue, reproduction of the original artwork with an additional insert. Made in collaboration with the artist and the support of Paulo Menezes (Plancton Music), who provided valuable assistance. Remastered by Taylor Deupree.

"With their dulcet fusion of ‘60s French ye-ye pop, slinky Studio One reggae, and liminal Brazilian tropicalia, Claude Fontaine’s songs embody the best kept dreams of a globally connected world. The second album from the Los Angeles artist reflects the dream of creating the soundtrack for this utopia by the sea.

Released on Innovative Leisure, La Mer is a mesmerizing portal. It’s impossible for it to exist outside of the modern moment, but it floats on the gilded dust of the past. At times, Fontaine channels Jane Birkin as backed by Jorge Ben. Francois Hardy locked into sonic reverie with Mulatu Astatke, or Margo Guryan making lovers rock.

None of this is a happy accident. For her second opus, Fontaine assembled some of the most gifted musicians of the last five decades. First and foremost is her co-writer and producer, the multi-platinum Grammy-Award winning Lester Mendez, whose resume includes everyone from Grace Jones and Baaba Maal to Shakira and Nelly Furtado.

As with Fontaine’s self-titled first album, the legendary Tony Chin appears on guitar, bringing the orphic tones expected from someone who has played with some of the greatest reggae musicians of all-time (King Tubby, Dennis Brown, Lee Perry, Jackie Mittoo, Max Romeo, Sly & Robbie). On bass, there’s Ronnie McQueen, one of the co-founders of Steel Pulse. Sergio Mendes’ percussionist, Gibi Dos Santos, supplies propulsive locomotion. So does Ziggy Marley’s drummer, Rock Deadrick. And that’s just the abridged list of storied instrumentalists who appear on La Mer."

Vinyl Only / Original artwork / Black Vinyl / 400 mcn paper / 30x30 cm insert with notes by Tony Higgins and graphic elaboration printed on 250 gram G.F. Smith Colorplan / PVC outers


Personnel:
Jorge Ruiz Lopez – Double Bass
Roberto Fernandez Trumpet
Leandro "Gato" Barbieri - Tenor Sax
Ruben Lopez Furst – Piano
Pichi Mazzei - Drums

Notes:
Jorge López Ruiz is one of most versatile of musical talents to emerge from Argentina. As a bass player, composer, performer and arranger he has worked across many genres including jazz, pop as well as stage productions and feature films.

BA Jazz was originally released in 1961 on Vik Records as the debut album from Lopez Ruiz featuring a mix of covers and original material. Alongside Ruiz Lopez are Roberto Fernandez on trumpet, Ruben Lopez Furst on piano, Pichi Mazzei on drums and a young musician called Leandro Barbieri on tenor sax. Leandro became better known at Gato Barbieri, who went on to build an international reputation working with Charlie Hayden, Don Cherry, Dollar Brand and Carla Bley and recording for Impulse! Records, Flying Dutchman and A&M Records.
The BA Jazz album has been a rarity for years and original pressings attract huge amounts from collectors. It's rarity is matched by the fantastic music contained with its grooves. It's a genuinely important record in the development of jazz in South America. (Tony Higgins)

"I decided to just let myself go," Zzzahara says of their new record, 'Spiral Your Way Out' "I think I finally came to this acceptance that I don't have to be perfect. I want to be a good role model to my fans and stuff like that, but I also don't want to hide who I am." Zzzahara's music wades into the deep waters of love, lust, and self-discovery in a part of the world where artifice and authenticity co-exist. Emerging from the heart of LA's alternative music scene, their sound is raw in feeling and rebellious by nature.

Their 2022 debut album, Liminal Spaces, chronicles a coming- of- age in Highland Park, following painful childhood memories through to late- night, live- fast coping mechanisms, and the changes the neighbourhood has endured over the same period of time. Their 2023 follow- up, Tender, marked a period of slowing down, looking inward, and embracing a softer side of being. 'Spiral Your Way Out' sees Zzzahara evolve again. Emotionally, its foundations are built on scorched earth.

The album finds Zzzahara in the aftermath of a relationship spent trying to fit someone else's mould, being jerked around by indecision, and then hitting "emotional rock bottom." Made in a three-month burst that let all their pent-up frustrations loose, 'Spiral Your Way Out' is in part a work of self-reclamation, swapping there 2nd album Tender's meditative state for something fiery and more assertive. The new album marks another sonic evolution as much as an emotional one. Zzzahara's songs have always come wrapped in a warm glow that reflects how they were written -namely at home in their bedroom.

That glow remains on 'Spiral Your Way Out', but it also packs an ambitious streak and a gutsy punch. Taking a more collaborative approach than usual, Zzzahara worked with a range of producers including Jorge Elbrecht (Japanese Breakfast, No Joy, Sky Ferreira), Sarah Tudzin (boygenius / Cloud Nothings / The Armed), former Ducktails guitarist Alex Craig (Jelani Aryeh / re6ce) and Halsey tour drummer Franco Reid, who helped harness their intimate style of writing and blow it up into something more panoptic. After a year of upheaval, Zzzahara finally feels "calm." The musical equivalent to going several rounds on a punching bag, 'Spiral Your Way Out' finds solace between extremes. It licks its wounds in a place where pain and love, healing and abandon, sit side-by-side. If it has a message, it's one of standing tall in your own shoes - scuffs and all.

"I decided to just let myself go," Zzzahara says of their new record, 'Spiral Your Way Out' "I think I finally came to this acceptance that I don't have to be perfect. I want to be a good role model to my fans and stuff like that, but I also don't want to hide who I am." Zzzahara's music wades into the deep waters of love, lust, and self-discovery in a part of the world where artifice and authenticity co-exist. Emerging from the heart of LA's alternative music scene, their sound is raw in feeling and rebellious by nature.

Their 2022 debut album, Liminal Spaces, chronicles a coming- of- age in Highland Park, following painful childhood memories through to late- night, live- fast coping mechanisms, and the changes the neighbourhood has endured over the same period of time. Their 2023 follow- up, Tender, marked a period of slowing down, looking inward, and embracing a softer side of being. 'Spiral Your Way Out' sees Zzzahara evolve again. Emotionally, its foundations are built on scorched earth.

The album finds Zzzahara in the aftermath of a relationship spent trying to fit someone else's mould, being jerked around by indecision, and then hitting "emotional rock bottom." Made in a three-month burst that let all their pent-up frustrations loose, 'Spiral Your Way Out' is in part a work of self-reclamation, swapping there 2nd album Tender's meditative state for something fiery and more assertive. The new album marks another sonic evolution as much as an emotional one. Zzzahara's songs have always come wrapped in a warm glow that reflects how they were written -namely at home in their bedroom.

That glow remains on 'Spiral Your Way Out', but it also packs an ambitious streak and a gutsy punch. Taking a more collaborative approach than usual, Zzzahara worked with a range of producers including Jorge Elbrecht (Japanese Breakfast, No Joy, Sky Ferreira), Sarah Tudzin (boygenius / Cloud Nothings / The Armed), former Ducktails guitarist Alex Craig (Jelani Aryeh / re6ce) and Halsey tour drummer Franco Reid, who helped harness their intimate style of writing and blow it up into something more panoptic. After a year of upheaval, Zzzahara finally feels "calm." The musical equivalent to going several rounds on a punching bag, 'Spiral Your Way Out' finds solace between extremes. It licks its wounds in a place where pain and love, healing and abandon, sit side-by-side. If it has a message, it's one of standing tall in your own shoes - scuffs and all.

Back in stock due to popular demand, the 12th release in our signature Brazil 45’s series saw a reissue of two certified classics from Brazil’s rich musical tapestry.

On the A side, Brazilian Samba luminary Elza Soares, covers Jorge Ben’s classic ‘Mas Que Nada’. Originally featured on her brilliant 1970 Sambas & Mais Sambas LP on Odeon, it’s tougher drums, punchy piano and Elza’s stunning vocal tones make this a perfect dancefloor heater. With over 34 albums to her name in a career that spanned 60 years, Elza is a certified legend of Brazilian music.

Little is known about the artist responsible for the B side track, Elizabeth. Nicknamed ‘Gatinha do Mato’ (loosely translated as ‘Jungle Cat’) she was involved in the Jovem Guarda movement that fused rock n roll and youth culture with Brazilian styles in the ‘60s.

‘Vou Falar-Lhe Francamente’ is a majestic, horn-infused number laced with emotion, that we originally found at one of our favourite, now defunct, spots ‘Tony’s Hits’ in Sao Paulo. The record was originally released on 7” on RGE in 1970.

Composer Ahmed Essyad was born in Salé, Morocco, in 1938. After studying music at the Rabat Conservatoire (Morocco) he moved to Paris in 1962, where he became a student of Max Deutsch and, later, his assistant. Trained in the avant-garde practices of Western musical composition, he also claimed the Amazigh folk music of Morocco as a fundamental source of inspiration for his work.

In 1965, he was already incorporating elements of oral tradition in his work so as to question the language of his time, and therefore had to cope with the limits of musical notation and communication with musicians who did not share his cultural references. It was difficult to agree on what was implicit, 'behind the notes,' especially regarding the management of musical time and micro-intervals. In search of new compositional tools, he turned to electro-acoustic music. Working in a studio made it possible for him to be the interpreter of his own work, which ensured a certain continuity with music of oral tradition. The pieces presented here were produced between 1972 and 1974 in a studio dedicated to electro-acoustic music, the S.M.E.C.A, which was part of the Music Workshop founded by Jorge Arriagada in Paris. The studio was equipped with EMS and Minimoog synthesizers, a piano, a marimba, a xylophone, as well as various percussion instruments and a tape delay system.

With Toubkal (1972), Ahmed Essyad's interest in ethnomusicology dates back to his training at the Rabat Conservatoire. In 1958, along with Maryvonne Sauvage and Ouahid El Omari, he took part in a campaign to collect popular and traditional music. In his subsequent compositional work, he frequently relied on this experience to further his research on gesture, vocal technique, timbre and instrumental playing. Sultane (1973) is the fruit of a reflection on the ground and the land. Inspired by a war song recorded in Taza in the 1950s, the first movement is festive. The five movements show a clear alternation between dense, rhythmic sections and slower passages from which electronically distorted voices emerge. One of the voices is that of Ahmed Essyad himself. The two parts of Lectures pour bandes magnétiques (1974) are based on two different poems, one by Rainer Maria Rilke, and the other by Bona de Mandiargues. This work celebrates the fundamental role of the body in the musical act: the voice is the body, breathing is the origin of all musical phrasing.

The practice of electro-acoustics may have been a mere parenthesis in Ahmed Essyad's long and prolific career as a composer of contemporary music, but the works presented here are nonetheless important. They show how strongly he both supported North African popular forms of expression and opposed its folklorizing through simplistic and 'exotic' representations. It's not about fusing together East and West - impossible, he says: "the real point is to open up an imaginary space where another modernity can exist outside the largely Eurocentric framework of avant-garde music. Synthesis means anticipation, knowledge. As for me, I'm increasingly ignorant. I write to discover what I don't know. Music feeds me, it pollinates me. It's my daily wine."

Jorge Ben is surely one of the world’s greatest all-round musical artists. He is internationally renowned and vastly influential as a vocalist, musician, performer and phenomenal songwriter. Famed for penning ‘Taj Mahal’, which was the source for Rod Stewart’s ‘Do You Think I’m Sexy?’, and also ‘Mas Que Nada’, one of Brazil’s most iconic anthems, Jorge Ben is a powerful musical force. A simple glance at his impressive back catalogue reveals a master of his craft, with a depth and quality that is seldom paralleled.

For 'Tudo Ben' we take a side-step, focusing on Jorge Ben’s songs that have been performed by other artists. Complied by Mr Bongo, Greg Caz and Sean Marquand, this collection features the Brazilian legends Elza Soares, Claudette Soares, and Wilson Simonal, alongside prodigious artists such as Marijô, Os Brazoes, and Doris Monteiro to name but a few. The selection covers a wide range of genres including samba, bossa nova, MPB and batacuda workouts. Many of the songs featured have become staples in Mr Bongo DJ sets over the years and are some of our most loved classics. As with many of history’s great songwriters, Jorge Ben’s songs transcend genres and styles, they can be covered and reinterpreted, yet the quality of the writing holds up to the standard of the original.

In the dark days of the mid to late 2000s when the end of vinyl seemed inevitable, Mr Bongo released 'Tudo Ben' on CD only. Years later, we finally get to put this right and present it for the first time on vinyl with alternative artwork by Mr Krum.

Our much in-demand series of classic Brazilian 45’s are back! Featuring a vibrant new design, we’ve curated yet more wants-list regulars and unearthed fresh finds from Brazil that are destined to become collector’s items in their own right.

Number 80 in our Brazil.45 series, aptly sees a double-sider focusing on the awesome 80’s recordings by one of the giants of Brazilian music, Jorge Ben.

First up is the addictive, building groove of ‘Curumin Chama Cunh t Que Eu Vou Contar (Todo Dia Era Dia De ndio)’. Taken from the ‘D diva’ album from 1981, and originally released on Som Livre Records. A homage to the indigenous people and tribes of Brazil. The flip features one of Jorge’s most beloved Brazilian-Boogie joints, ‘Rio Babil nia’, which celebrates life in Rio, partying, the beach, and the city’s iconic monuments.

The song was originally released on a compacto and taken from the ‘D diva’ album from 1983, it features arrangements by the late-great, Lincoln Olivetti.

Studying piano and trombone, Rita Payes joined the Sant Andreu Jazz Band and released her debut album at 16.

Born in Recife, Brazil, and currently residing in Lisbon, Sam Nóbrega is a singer-songwriter, multi-instrumentalist, arranger, and producer.Influenced by the Brazilian melodies his parents sang and listened to at home and on the radio, and driven by his love for Brazilian folk songs, street culture, and genres and movements like samba funk, forró, Ijexá, Manguebeat, and Bossa Nova, Sam embarked on a journey of musical self-discovery. In 2017, he took the stage with his first shows presenting his original music, performing at the Misturada festival in Florianópolis, southern Brazil, and at renowned venues in his hometown. However, it was in 2019 that Sam Nóbrega unveiled his debut single, "A Vida Vai e Volta," showcasing his instrumental prowess in a live video on top of a building. Subsequent releases like "Ruas Desertas," an independent release during the pandemic, demonstrated Sam's versatility.

His debut album "Ponta de Dois Lados," produced by Sam and Pedro Diniz, is slated for release by the British label Freestyle Records late November 2024. It is a rich sonic tapestry of Brazilian culture, blending traditional and popular elements with an indie and contemporary touch, creating an intriguing fusion of old and new sounds. Influences from João Donato, Marcos Valle, Milton Nascimento, Jorge Ben, Gilberto Gil, Novos Baianos, to the Manguebeat, Tropicalismo, and Vanguarda Paulista movements.

Seu Jorge, the internationally successful Brazilian singer and actor, needs no introduction. In 2024, his second solo album, CRU, will celebrate its 20th anniversary. This album, which has become a "classic", has established him as the new "king" of Brazilian music. Released shortly after the cult Brazilian film "City of God", in which he plays the role of bus driver "Mané Galinha", CRU was immediately hailed by the international press and acclaimed by audiences the world over.

The members of the Peruvian psychedelic folk-pop band
Kanaku y el Tigre never thought that what started as a fun
project among friends would become one of the most
acclaimed bands in Latin America. Their first single,
"Bicicleta", was made without the pressure of trying to fit
into the local scene. This attitude fueled the creativity with
which they managed to create an important space for
themselves in the local music scene. "Bicicleta" is the city
of Lima, the constant search for an identity, the illusion,
the monsters, the carbon monoxide, the belonging and the
absence.

The indie folk and experimental pop group Kanaku y el
Tigre has a 15-year artistic career and is considered one of
the most influential contemporary bands in the Latin
American music scene.

The band has been part of festivals such as Rock al Parque
and Estéreo Picnic in Colombia, Vive Latino in Mexico, Río
Babel in Madrid, Primavera Sound in Barcelona, and has
toured in other countries such as Argentina, France, and
Chile.

Additionally, they have shared the stage with
Aterciopelados and collaborated with Jorge Drexler, Kevin
Johansen, Miki Gonzáles, Leonor Watling, among other
renowned musicians from Latin America.

LIMITED RED COLOURED VERSION! Veteran electrohead and former artist on the Rephlex Records roseter DMX Krew's Ed DMX takes the well-known story by Jorge Luis Borges of The Library of Babel, said to contain all the different languages of the earth. Some deep philosophical thought has gone into the album's concept, but we'll leave that to Ed to explain. Instead, we'll tell you that from beginning to end there's plenty of the kind of trademark 80s synth playfulness in evidence, with a generally more mellow and soundtrack-related rather than frenetic and dancefloor-filling vibe in evidence, even on faster tracks like 'The Combed Thunderclap'. Still, Ed knows what he's doing when it comes to this kind of leftfield electro gear, and it's a rewarding, never boring listen.