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FATAL !! Big big release of electronic music. 132 BPM electro weird music, between techno and tekhouse... Bugging style with surprises and thin sounds... Very beautyfull. Autoprod from some south France. Don't miss !

Troopcafe, witch has been leading as a club scene in Kobe, Japan for over 20 years, has released the first EP.

As a Masafumi Onishi has been on the move for years now, all the while maintaining his roots in the Kobe club scene.
This is a just dance music for anybody who is go to the floor. There is a future there.

Maria Rita is a musical pioneer that was ahead of her time. On first hearing her song, 'Cântico Brasileiro No.3 (Kamaiurá)’, we thought it sounded like a contemporary remix that an artist such as Carl Craig could have produced. In fact, it came out in 1988 and was taken from Maria's 'Brasileira' album, released on the Brazilian, independent Acorde imprint. The song would go on to gain cult status with its inclusion on John Gomez's superb 'Outro Tempo' compilation, released on the Music From Memory label in 2017.

The album fuses new-age electronics with indigenous vocals and Amazonian rhythms. It is beautiful and unique and takes you on a journey through different moods, textures and ethereal planes. Through the sounds Maria created, you join her on a timeless voyage gazing into the future whilst embracing her powerful roots.

Maria Rita Stumpf was born in the southern inland of Brazil, in the mountains of Aparados da Serra. She started writing music at the age of 14, and through participation in festivals and song contests, she developed her material and sound. A move to Rio de Janeiro in 1985 furthered her career and led to the release of the 'Brasileira' album. The record features the legendary pianist Luiz Eça, alongside the group Uaktí and Ricardo Bordini.

1993 saw the release of 'Mapa das Nuvens (Map of the Clouds)' on CD via the Leblon label, but soon after, Maria would have a hiatus from the music industry, dedicating herself to her cultural and arts agency, Acorde. She left the stage and recordings behind, but quality always shines through and years after its original release, international diggers, producers and DJs rediscovered the greatness of Maria's music. This would lead to a re-issue of the ‘Brasileira’ LP, and later Optimo Music/Selva Discos released a 12” EP of ‘Brasileira’ remixes by Selvagem, Carrot Green and Joakim. Maria also spoke at the Red Bull Music Academy Festival in São Paulo, performed at both the Kino Beat Festival and the Brazilian leg of the Dutch festival, Dekmantel. Her two latest albums received critical acclaim, ’Inkiri Om’ in 2020 and ‘Ver Tente’ in 2022. At last, Maria has got the credit and kudos she deserves, inspiring new and future generations of producers and music lovers.

Though previously re-issued, it was after a conversation with Maria that we learned that she wanted to keep this sublime record in press, and this was something that we couldn’t wait to put into action. So here it is, the Mr Bongo pressing of ‘Brasileira’, housed in a gatefold cover.

Black Vinyl LP with insert (including the story behind the album and lyrics with English translation)

After their first LP, in 1987, Pedro gathered his usual band, Carlos Sousa on keyboard, Bulimundo on drums, Nuno Santos and Zézé on lead and rhythm guitars, Augusto Rasta on bass, Daló on sax and finally Dalú on percussions, for yet another project, one that carried both their names: Jacinta Sanches - Pedro Ramos. Eight days, no more, that’s all Pedro Ramos and Jacinta Sanches needed inside the Estúdios Musicorde. The process was natural, as with all their music, memories recollected and arranged by Pedro on café napkins, rehearsed and perfected at home with Jacinta. Together they imagined music where Cape Verdean saudade could dance together with Kingston’s skank, two island hearts beating inside European concrete.

His name is Pedro Correia Ramos Varela, born in Praia, Santiago, Cabo Verde on April 6th 1954; her name is Jacinta Lopes Veiga Varela, born in Cidade Velha, Santiago, Cabo Verde on January 22nd 1959. The two met in Praia, where a few exchanged words turned into long evening conversations; conversations into friendship; friendship into love; and love into six wonderful children. After the independence of Cabo Verde, they got married in 1978 and moved to Portugal, where Pedro started working as a welder for Lisnave and playing the guitar in a band in Ramada. Trading shipyard sparks by day for the after-hours pulse of Cova da Moura, his love for music proved harder than steel. And in 1982, after seeing Bob Marley and Peter Tosh in Rotterdam, he opened his own Dancing Bar just below their house, a pioneering space for the promotion of reggae music in Portugal.

Their Dancing Bar kept its doors open from 1982 to 1994, seeing the release of two albums and more singles. To this day, Pedro and Jacinta are still making music, one the inspiration of the other. They define themselves as simple people, living happy without prejudice, friends with the world.

The upcoming EP ‘Seriously Love, Go Home’, represents a cathartic turning point in Charlotte OC’s journey. Rooted in grief, emotional reckoning, and eventual self-renewal, the EP is an unflinching snapshot of a woman processing the chaos and rediscovering her strength.

“Seriously Love, Go Home is the sound of me finally facing myself. It’s the aftermath of grief, self-sabotage, love gone wrong, and crawling back to the one place I never thought I’d return to. It’s hope and helplessness. It’s exactly what I needed to make to get myself through that time.” – Charlotte OC

A true embodiment of Brazilian Boogie, this is the first official reissue of Brylho's album, founded in Rio de Janeiro in 1978 as Brylho da Cidade. The group was influenced by the Black Rio movement of Tim Maia, Cassiano, and others. Members included Arnaldo Brandão (vocals/bass), Paulo Roquette (guitar), Cláudio Zoli (guitar/vocals), Robério Rafael (drums), Bolão (percussion), and Ricardo Cristaldi (keyboard). Claudio Zoli stands out as an important funk artist of the 1980s, during a time when Pop Rock bands dominated the Brazilian music scene. This album features one of the biggest hits of 1983: the soulful reggae groove "Noite do Prazer." Often described as Rio de Janeiro's answer to George Benson's "Give Me the Night," it's a timeless classic that bridges funk, soul, and Brazilian grooves. On "Se Você For a Salvador," a sun-soaked, feel-good boogie track, younger generations have embraced a new term to describe the sound: Brazilian City Pop. The record also delivers dancefloor heat like the stomping "Jóia Rara," the vibrant soul-reggae fusion "Destrava Maria," the ahead-of-its- time rap-funk hybrid "Cheque Sem Fundo," and the electrifying samba-reggae "Pé de Guerra," rich with Bahian rhythms and energy. Closing out the album are two under-the-radar jazz-funk gems: "Meditando" and "171." Though often lumped into the boogie category, these tracks lean more toward the sleek 1980s jazz-funk sound, reminiscent of UK acts like Level 42.

Mercenárias is an iconic band in the history of Brazilian punk and post-punk. They gained global recognition after being included in several compilations outside Brazil. Born in the vibrant alternative scene of 1980s Sao Paulo, Mercenárias is an iconic band in the history of Brazilian punk and post-punk. Formed in 1982 by Sandra Coutinho (bass and vocals), Rosália Munhoz (vocals), Ana Machado (guitar), and Edgard Scandurra (drums), the group stood out for their rebellious attitude, incisive lyrics, and raw sound that blended punk, post-punk, no wave and experimental elements. Their debut album, "Cadê as Armas?" (1986), is considered one of the most important records in Brazilian music history. Recommended for fans of The Slits, DNA, Malaria!, Kleenex, and Minutemen, the group stood out for their rebellious attitude, incisive lyrics, and raw sound that blended punk, post-punk, no wave and experimental elements. This is a compilation of rare tracks from 1983 to 1987. On the A side, there are 10 amazing songs that didn't make it onto their two albums. On the B side, there is a great live recording at the legendary Sesc Pompéia during their early days, as well as a "lost" studio session featuring some of their classic songs recorded for the cult film Vera. It has been remastered from the original tapes and includes an insert with previously unseen photos and a short text by Edgard Scandurra. .

Long time in the vaults, soon out in pop heaven: Andrea & Alexander, a handsomely nostalgic pop project by Andrea Noce aka Eva Geist and Alexander Arpeggio. Originally launched in 2014, revitalized in 2023, the project originated as a live set-up consisting of synthesizers, ePects pedals, and analogue drum machines. From there it slowly metamorphosed into a crew of songs with raw minimal-wave grooves and romantically haunting English and German pop lyrics, loosely evoking the aura of Siouxsie Sioux, Gudrun Gut or Nadine Bal. After becoming a live mainstay in the Berlin based underground club Sameheads, they went on a tour through Lithuania and soon after several unfortunate troubles led to the break-up of the band, prompting both Andrea and Alexander to focus on their solo careers. Andrea became Eva Geist and released for various international labels, played live and formed the female duo As Longitude. Alexander founded his own label Eine Welt, took over the management of the renowned underground festival Camp Cosmic and created two musical projects with Cid Hohne, Otto and Aufgang B. Now, years later, almost becoming a Soundcloud corpse some Andrea & Alexander recordings caught the attention of the R.i.O. folks and just seconds later they offer six freshly recorded cuts of Andrea & Alexander tunes that stood the test of time as authentic, soulful pop music. “What are we going to wear for tonight’s party?” Andrea Noce asks in their song “Tiney Party”. The answer is “Loved Up” a musical celebration outfit of six sincere recorded, emotionally accorded songs, who make the dance, give verve a chance, to be there, in that moment of all moments. An album for the listener that likes to dance. In his head, on the local carpet. “Loved Up” humming Andrea & Alexander tunes.

“On August 5th 1962, after 300 years of British rule, which had soaked the earth of the island in blood, Jamaica was finally independent. The country that the British left behind was certainly a place of widespread poverty and deep inequality, but there seems to have been a real burst of confidence that came with independence. Newsreels of the day show well-dressed crowds reacting with enthusiasm and excitement, and the era found its perfect soundtrack in the boldness and exuberance of ska music, which was erupting all over the island.

This optimistic mood found probably its greatest artistic expression in the music of the Skatalites, who formed in June 1964 as a kind of Jamaican supergroup. Philip “Justin” Yap was a young, upcoming producer who had used members of the Skatalites for his first tunes, recorded either at RJR (Radio Jamaica and Redifussion) or at Federal studios. As Steve Barrow documented in the sleevenotes for Pressure Sounds’ reissue of the classic “Ska-Boo-Da-Ba” album, Justin had also befriended Clement “Coxsone” Dodd, and when Coxsone opened his own Studio One facility in December 1963, Justin immediately switched most of his production work to this new recording room. Studio One opened just in time to catch the formation of the Skatalites, and is where Justin recorded most of his classic Skatalites sides. He also recorded lots of excellent instrumentals with a smaller brass section, still mainly using members of the Skatalites, but crediting instead the composer or arranger of the tune. Combined with Coxsone’s own recordings, these productions for Justin’s Top Deck and Tuneico labels really captured the members of the Skatalites at their magnificent best in the unique atmosphere of Studio One.”

Das Album CINEMA wird 20 Jahre alt und erscheint nun in einer limitierten Sonderausgabe auf CD und Doppel-LP - ein Meilenstein in Rodrigo Leãos Karriere und in der Geschichte der portugiesischen Musik. Sie enthält zwei bisher unveröffentlichte Titel, "Luzes da Cidade" und "Quarto 501", sowie Remixe von "Deep Blue" und "Rosa".

"Der aus Belém do Para im Norden des Landes stammende Ary Lobo war bereit, seinen Wahlkampf im Süden des Landes zu beginnen und machte sich im Oktober 1955 auf den Weg nach Rio de Janeiro. Dort stieß er auf die üblichen Vorurteile des Südens gegenüber Sängern aus dem Norden, und erst nachdem er Gadé, einen angesehenen Pianisten, kennen gelernt hatte, konnte er sich ein Vorsingen bei Rádio Mauá sichern. Doch diese Chance hätte sich beinahe in eine Katastrophe verwandelt, da er in einem so schwachen Zustand zu dieser Sitzung erschien, dass er nicht auftreten konnte. Die unzureichende und unregelmäßige Ernährung hatte seine Atmung beeinträchtigt, so dass es unmöglich war, seiner Stimme die nötige Kraft zu verleihen. Glücklicherweise wurde das Vorsingen verschoben, und bei seinem zweiten Versuch konnte er sich einen Fünfmonatsvertrag mit dem Sender sichern, wo er als Samba-Sänger bekannt wurde. Als sein Ruf wuchs, wurde er bei RCA unter Vertrag genommen im Juni 1956." Die Musikszene in Rio wurde auf den Newcomer aufmerksam, der die Persönlichkeit eines nordöstlichen Sängers mit tiefen Wurzeln im afro-brasilianischen Erbe pflegte. Er begann das neue Jahrzehnt mit dem Album "Aqui mora o ritmo" (Hier lebt der Rhythmus), das 1960 veröffentlicht wurde und von vielen als sein bestes Werk bezeichnet wird. Wie so viele Genres erlebte auch der Forró seine Blütezeit, aber Ende der 1960er Jahre begann seine Popularität zu schwinden, und Ary Lobo war gezwungen, auf der Suche nach Arbeitsmöglichkeiten von einer Stadt in die andere zu ziehen. Schließlich kam er nach Fortaleza, wo er bis zu seinem Tod im Jahr 1980 lebte. Unter den Sängern und Songschreibern, die in den 1950er Jahren aus Pará hervorgingen, erlangte Ary Lobo einen für seine Zeit einzigartigen nationalen Ruhm.

This two-time Grammy nominee’s career has taken Cidny from singing back-up on tour with Elton John, working with Bob Dylan, Rod Stewart, and singing three lead vocals on the “Grease” movie
soundtrack to having nine critically acclaimed solo albums, including the award winning Somewhere Between Heaven and Earth. Cid’s friends on the albums include friends Bonnie Raitt, Lucinda
Williams, Steve Earle, Bryan Adams, Emmylou Harris, Delbert McClinton, and Sir Elton John himself.

Cidny has also co-written many Country songs in Nashville, including Radney Foster’s hit “Hammer and Nails”. Since 2007, Cidny has been one-third of “super-group”, The Refugees with Wendy Waldman and Deborah Holland. In 2011, Cidny made the difficult and daunting decision to start transitioning from female to male, from Cindy to Cidny. He has written and has been performing his one-person theatrical show Somewhere Between: Not An Ordinary Life all over the U.S. An award-winning documentary short about his life called The Gender Line screened at major film festivals around the world from 2019-2022. Cid will be releasing his first album as “Cidny Bullens” Little Pieces in the fall of 2023. Cid’s memoir, TransElectric: My Life as a Cosmic Rock Star, with foreword by Sir Elton John was released on June 6, 2023, and is now available for purchase at all major bookstore sites.

High-octane tour-de-force by legendary post-punk group, INU. Widely considered in Japan to be one of the all-time greatest punk records, 1981's Don’t Eat Food! remains shockingly unknown to the rest of the world. Led by literate but unhinged Machida Machizo, a magnetic stage presence who sang in a thick Osaka dialect that sounded like nothing else at the time, INU took Japan by storm in the late '70s with their powerful and often belligerent live show. Their membership changed frequently but INU's final lineup -- the group that recorded Don't Eat Food! -- was sharp as a knife, and the band's airtight debut still wows forty years later.

It's hard to describe INU's unique sound in comparison to other bands, but maybe imagine a more fidgety Richard Hell & The Voidoids jamming with PiL? Better yet, just listen for yourself.

This first-ever fully-licensed edition has been remastered from the original tapes and cut by Kevin Gray and includes an 8-page booklet with never-before-seen photos, lyrics in English and Japanese, and liner notes by Syojiro Ishibashi in English and Japanese.

Das neue Album "The Sound of Movies" von Klassik-Superstar Jonas Kaufmann erscheint am 15. September 2023 bei Sony Classical. Großartige Songs aus klassischen Filmen waren schon immer eine Leidenschaft von Jonas Kaufmann, und sein neues Album feiert dies mit unvergesslichen Filmsongs aus fast einem Jahrhundert - Musik, die weltweit das Publikum begeistert hat."The Sound of Movies" enthält Hits aus großen Filmklassikern wie West Side Story, Gladiator, Cinema Paradiso, The Sound of Music, Les Misérables, The Mission, The Great Caruso, Singin' in the Rain, Once upon a Time in America, Breakfast at Tiffany's und vielen mehr! Das Album wurde mit dem auf Filmmusik spezialisierten Czech National Symphony Orchester und Chor unter der Leitung von Jochen Rieder aufgenommen, ein spekatuläres Sounderlebnis ist garantiert. Bei drei Titeln wird Jonas Kaufmann vom bekannten Gitarristen Miloš Karadaglić begleitet. Auch eine Weltpremiere ist auf dem Album zu hören, das Thema aus dem Film "The Cider House Rules" der Oscar®-gekrönten Komponistin Rachel Portman. "Für ein paar Stunden in diese Welt einzutauchen und alles um sich herum zu vergessen, ist unglaublich faszinierend - ähnlich wie im Theater oder in der Oper", sagt Kaufmann über klassische Filmmusik. "Ich bin über viele Jahre viel gereist, oft allein für Wochen und Monate in fremden Städten am anderen Ende der Welt. Neben den Museen war es das Kino - diese großartige Möglichkeit, sich zu unterhalten, wenn man allein ist - das meine Fantasie beflügelte.""The Sound of Movies" erscheint als CD, Vinyl und digital.Die limitierte 2-LP-Gatefold-Edition auf 180 Gramm Vinyl enthält eine persönliche Einführung von Jonas Kaufmann und ein ausführliches Booklet.Das Standard-Jewelcase enthält eine persönliche Einführung von Jonas Kaufmann und ein ausführliches Booklet in Englisch, Deutsch und Französisch.

Yes, this is indeed the reclusive maniac who brought us "FIELD MANUAL" and "REALITY SURPASSES FICTION" back in the 90s on the Digital Hardcore label. It is a great honor to help usher in a new chapter for this gabber/breakcore legend.

Joshwa heads to Hot Creations for his label debut, unveiling his two-track ‘Bass Go Boom’ 12”.

After surging into the spotlight in 2022 via a series of high-profile collaborations alongside Lee Foss, CID, and Martin Ikin, UK-based DJ/producer Joshwa is looking to keep things moving for 2023 as an artist at the top end of Beatport’s top-selling tech house charts. Up next, late March brings a milestone release as he steps out on Hot Creations for the first time, delivering a pair of heavily requested and lively productions across his ‘Bass Go Boom’ EP.
A boisterous and low-end heavy production loaded with vocal samples and spiralling synths, ‘Bass Go Boom’ is a tined for peak time use, while ‘Supersonic’ offers by rolling drums, and vibrant glitches and pops.

Auf ihrem Sony Classical Debüt Album "Beyond the Screen" gewährt die Filmkomponistin Rachel Portman einen persönlichen und emotionalen Einblick in ihre wegweisende Karriere. Dafür hat sie einige ihrer beliebtesten Filmmusiken neu am Klavier aufgenommen, darunter ihr Oscar-prämierter Soundtrack "Emma", "Gotteswerk und Teufels Beitrag" und "Chocolat". Insgesamt 20 Piano Arrangements verbindet Rachel Portman zu einer emotionalen musikalischen Reise. Vom Arrangement bis zur Performance: Bei der Produktion von "Beyond The Screen" hat Rachel Portman künstlerisch alles selbst verantwortet: "Es musste eine sehr direkte Verbindung zwischen mir als Autorin und dem Interpretieren bestehen. Für mich hat sowieso alles seinen Ursprung am Klavier, weil ich am Klavier schreibe. Ich verbringe den ganzen Tag am Piano. Wahrscheinlich bin ich in meiner Seele Pianistin. Es fühlt sich also sehr befriedigend an, die Stücke am Klavier gespielt zu haben. In gewisser Weise hat sich damit der Kreis geschlossen." Rachel Portman hat in knapp 40 Jahren über 100 Scores für Film- und Fernseh-Produktionen komponiert und ist bekannt für ihre lyrischen Melodien und ihre reinen, transparenten Orchestrierungen. Darüber hinaus hat sie auch Musik für Opern (Le Petit Prince) und Theaterstücke und ein Oratorium komponiert. 1996 gewann sie als erste Frau einen Academy Award in der Kategorie Best Musical or Comedy Score für "Emma" und 2015 als erste Frau einen Primetime Emmy Award für "Outstanding Music Composition for a Mini Series, Movie or a Special" für "Bessie". Weitere Nominierungen erhielt sie u.a. für "Oliver Twist", "The Cider House Rules" und "Chocolat"."Jeder Film ist mit einer persönlichen Geschichte verbunden. Um diese Geschichten geht es in 'Beyond The Screen'" erklärt Rachel Portman.

"Portuguesa" enthält 14 Songs und wurde von Carminho
produziert. Der Fado-Star aus Portugal steuerte neben
weiteren Songwriter:innen auch einen Teil der Texte und
traditionellen Fado-Kompositionen bei. Über die Arbeit an
dem Album sagt sie: " Portuguesa ist das Resultat zehn
konzentrierter Tage in den Namouche Studios im März
2022, genauso flossen jedoch die beiden vorherigen
Jahre darin ein. Ich bin immer auf der Suche nach
diesem ganz speziellen Schwindelgefühl, bei dem ich mit
neuen Kombinationen derselben Grundzutaten meine
Identität finden kann. Das hier ist meine Geschichte,
meine Ursprünge, meine Einflüsse und die Musik, in der
ich mich wiederfinde."
Der Fado ist Carminhos Leben, und kaum eine andere
Sängerin verleiht dieser portugiesischen Form des Liedes
so viel Kraft, Leidenschaft und Tiefe wie sie. Indem sie
sich ganz diesem tiefsinnigen Traditionsgenre widmet,
erschafft sie neue traditionelle Fados, denen sie ihren
eigenen Stempel einprägt. In ihren tiefen Reflexionen über
das Wesen des Fado erkundet Carminho unterschiedliche
Kombinationen innerhalb des Kanons, überdenkt die Form
und bewegt sich in dem vertrauten Element so sicher wie
ein Fisch im Wasser.

„One day I was on a visit sitting in his kitchen and when we decided to change to the sofa in the music room, his girlfriend proposed to listen to these old recordings, as maybe I would be weird enough to like them. „Recorded in my homestudio, low budget style with a cheap microphone, a sampler, drum machines, vinyl and a few borrowed synths. … A commitment to the funk, a raw analogue sound and also a dedication to black music and its architects.“ the artist comments on it.
I immediately dug the rather short demos a lot. As I had to swallow the information that there never were real plans to release them, I later decided on the bus home, I just had to puke out a „label“. Soon I asked him to extend some of the songs and let me do some mixing and here is the album.“ Cid Hohner

An entire long-player on hair, representing the complete Illwig catalogue. Beautifully raw electronic funk. Obscure, bouncy and atmospheric. Right. This is F.B.Illwig with the first official release on Moonwalk X Records after a singlesided promo 12“ sporting the extended version of „Why Do My Hair“.

Brilliantly unclassifiable ambient midi-jazz salvo from Brazil’s Gabriel Guerra aka Guerrinha - member of PAN/Future Times' Lifted ensemble and lynchpin of the Rio De Janeiro underground. Very highly recommended noir sleaze x fantasy lounge music somewhere on the spectrum between Gigi Masin, Spencer Clark, 0PN, Flanger and Koji Kondo’s iconic video game soundtracks.

Deployed as the third release on the expertly curated confuso editions, ‘Cidade Grande’ sees Guerra unfurl an immersive and deeply enveloping variant of lounge jazz noir intersecting Japanese city pop, classic video game soundtracks and future-primitive kosmische signatures in a way that defies easy categorisation. Guerrinha colours outside the lines in swirling, exquisitely trippy designs that are as easy on the ears are they are hard to fully fathom over a single sitting.

Mirroring a strain of jazz music’s evolution from sophisticate lounge soundtrack to more psychedelic lustre when musicians found acid and Brazilian styles in the ‘60s, Guerrinha slants the paradigm thru the prism of late ‘80s midi with a c.21st suss that coolly echoes hauntological takes from Spencer Clark & James Ferraro to Leyland Kirby, and Eli Keszler’s electro-acoustic jazz proprioceptions, as much as emotive Kenji Kawai soundtracks. There's a complete lack of cynicism in his approach, and dense, hypnotic tracks like 'Venda Casada Village' and the moving 'Kafta Hoje' sound so completely straight-faced it's impossible not to respect the flex.

It’s a hugely trippy listen, at once calming and eerily evocative, with a wipe-clean palette of deft midi orchestrations that conjure flashbacks to soundtracks for everything from Twin Peaks to Sharky & George or Patlabor, but with more opalescent depth, dancing around motifs in holographic designs that mark the uncanny valley of perception.

Sometimes the best things take time to come into fruition, and here we are, ready to finally unleash Brazil45 number 88 - the missing 7"! Featuring two Mr Bongo favourites that we have been longing to share with the world.

First up is a lesser-known Brazilian Boys track titled 'Super Herois’. This slightly trippy and quirky funk-rock groove is taken off an obscure 7" on CID records and was originally released in 1975. 'Super Herois' is super catchy, addictive and a guaranteed complete earworm. It’s a muti genre, crossover nugget that will branch scenes and tick all sorts of boxes.

On the flip is the driving, jazz-rock-samba dancefloor joint 'Tudo Ai’, a cut taken from Rubinho E Mauro Assumpção's highly sought after 1972 album 'Perfeitamente, Justamente Quando Cheguei’. Originally released on Tapecar Records, this short in stature track packs a real punch!

Joining the dots between Brazilian musical culture and the sonic melting pot that is New York City, Saidera are a trio on the rise. They’ve already released a pair of critically acclaimed, carnival-ready singles on Brooklyn’s Let’s Play House label and are now ready to make their debut on Leng Records.

The band’s roots can be traced back to a trip that Lemonade band member Alex Pasternak made to Brazil in 2014. While DJing at a house party in the bohemian Rio de Janeiro neighbourhood of Sta Teresa, Pasternak was left gobsmacked when a mysterious local singer/sambista Vadinho Freire, grabbed the mic and started freestyling lyrics and melodies over his set. Realising their instinctive musical connection, Pasternak and Freire decided to work together on some music, with New Yorker Le Chev joining them to complete the Saidera trio.

Now based in Rio and California, the group’s sun-soaked sound – which they describe as “samba disco-Afro melody” – is a cross-cultural stew in which infectious Brazilian percussion, colourful synth sounds, glistening guitars and celebratory vocals combine to create magical, life-affirming musical moments.

‘Luzes Da Cidade’, their first outing on Leng, encapsulates all that’s good about the Saidera sound and the trio’s approach to music. The song is about identity and connection and in its original form is languid, loved-up and joyous, with acoustic and electric guitars, Portuguese vocals and Korey Riker’s gently breezy flute solos rising above a squelchy synth bassline and energetic, sweat-soaked samba drums.

The song’s main mix comes accompanied by a wonderful instrumental pass featuring more extensive solos by Riker, and Saidera’s own remix of ‘Luzes Da Cidade’ – an extra-percussive, breakbeat-tinged fusion of hazy deep house, energetic samba and sunset-ready synth-disco that will delight DJs and dancers alike.

To round off the EP, Saidera has delivered a brand new “Uprockin Dub” of debut single ‘Deixa Tudo Fluir’, this time with female vocals from Irina Bertolucci taking the lead. Brilliantly kaleidoscopic sonically, with dub delay-laden vocals, guitars and flutes, it’s a superb, life-affirming Balearic reggae interpretation of a now familiar favourite. If you’re not singing along with the chorus after your first listen, we’d be very surprised.

Joe Rainey is a Pow Wow singer. On his debut album Niineta he demonstrates his command of the Pow Wow style, descending from Indigenous singing that's been heard across the waters of what is now called Minnesota for centuries. Depending on the song, his voice can celebrate or console, welcome or intimidate, wake you up or lull your babies to sleep. Each note conveys a clear message, no matter the inflection: We're still here. We were here before you were, and we never left. On Niineta, Rainey finds himself in between cultures, collaborating with producer Andrew Broder, who brought his turntablist sensibility to the project. The two of them met backstage at Justin Vernon's hometown Eaux Claires music festival before crossing paths more through the 37d03d collective, and both contributed to the last Bon Iver album before partnering up. "At first I didn't know what I could add," Broder says. "I came to understand everything is rooted in the drum-even the songs on our record that have no drum." Each song started with Broder's beats, the two of them experimenting with various sounds and tempos before orchestrating and recontextualizing the ancient sounds in strange, new in-between places, also pulling from Rainey's vast sample folder of pow wow recordings, layering in slices of his life. Niineta is a short version of the Ojibwe term meaning, "just me," and Rainey is using the term only in the sense that he's taking sole responsibility for the music. He is protective of Pow Wow culture-once outlawed by the US government and maintained in secret-while trying to figure out where he fits and how he can be creative with it. "These are my creations, but they're pow wow songs, and our language is sacred," he says. Rainey suggests conceptualizing the album as him working the door at a Pow Wow after party. "If I'm answering that door, I want to say, hey, yeah, come on in. But there's fucking tons of us in here. It ain't just me."

This special Record Store Day 5 x 45s collection comes packaged in a limited-edition Brazil 45 clamshell collector’s box.

The long-running relationship between Masters At Work and Mr Bongo has been a fruitful affair. Beginning in the 90s, it has included releases such as their seminal 'Brazilian Beat' 12" featuring Liliana, their magnificent rework of Atmosphere’s ‘Dancing In Outer Space’, and their recent hit Surprise Chef remixes 12". The influences of Brazilian music is evident in their DJ sets and productions, take the poly-rhythms of the 'Nervous Track’ as a prime example. We couldn't think of anyone more fitting to curate the third volume in our "Brazil 45 Boxset Curated by" series than one half of the MAW duo, the mighty Kenny Dope.

For his volume of the series, Kenny selected 10 knockout tracks from the golden era of Brazilian music. As you would expect from such a legend, he surpassed the brief of simply compiling the tracks, as he re-edited and remixed a number of his favourites especially for this boxset. Amongst these exclusives is a blazing, heavy psych-funk remix of Antonio Carlos & Jocafi's 'Quem Vem Lá’, and a hip-hop breakbeat bounce woven into Luli Lucinha E O Bando's folky-MPB beauty 'Flor Lilás’. Di Melo and Miguel De Deus are also given the Dopeman remix and edit treatment.

Kenny's selections pull out some forgotten classics and recently overlooked gems, many of which were once top of the want-lists for collectors in the 90s. These include Milton Banana Trio and the irresistible version of 'Berimbao' by Jayme Marques. Along with the Brazilian funk and jazzy-bossa dancefloor-oriented tracks, Kenny has also chosen the leftfield, deeper, trippy psychedelic folk sounds of Papete.

As with previous volumes, the selections are very personal and represent the individual sound and taste of the selector digging from the rich tapestry of Brazilian music. Its unique palate and stamp are exactly what you would expect from a Master At Work.

Tape

The occult and folk music have been friends for a while. In the 21st century, hauntology and the resurface of some cult soundtracks from the 1970s and 1980s helped to create a new sense of folk, not associated with the typical acoustic feeling, but more relatable with library, krautrock/kosmische and industrial music. João Kyron and Tony Watts, long time collaborators since the late 1990s with their band Hipnótica, and more recently with Beautify Junkyards (Ghost Box) are well acquainted with this friendship. Hidden Horse is their new project as a duo and “Opala” their first release.

With eight tracks and almost thirty minutes, their first release explores dense and greyish urban utopias. The song titles explore ideas that mix sci-fi, horror, science, space and urban phobia, and the music Kyron and Watts create delivers, using electronics and drums with great relish. Their relationship as musicians, which spans more than two decades, can be felt in the way their music flows with a continuous dialogue.

“Opala” is always keen to take you to another dimension. It lives in its own twilight zone, where the obscure entangles the most obvious senses of reality. It sounds like Jacques Tati “Playtime” with a hauntology soundtrack: it kind of feels that this imaginary world is real, but it’s not. And it sucks you in to be a part of it and enjoy it: close your eyes and let yourself go while listening to “Levitação Magnética” or “Fantasmas do Planeta”. You will feel like a foreigner in a new city.

Tetrabass factory double LP compliation of praised unreleasqed tunes on vinyl !

Massive dancefloor weapon !

IKOQWE (pronounced ee-kok-weh) is a new project by Batida (aka Pedro Coquen o, the Angola-born, Lisbon-raised artist who ranks among the leading exponents of the new wave of African electronic music), and Luaty Beir o, aka Ikonoklasta, the Angolan rapper turned iconic activist.
IKOQWE’s inspiration comes from old school Hip Hop as much as from traditional Angolan music. The album (entitled ‘The Beginning, the Medium, the End and the Infinite’) includes drum machines, vocals in Angolan slang, Umbundu, Portuguese & English, discussions about neocolonialism, iniquities and falsified history, radio sounds, utopian solutions, and much more.
The album will be preceded by a 3-track digital single, ‘Pele’ (‘Skin’), containing the album version, and remixes by afro house legend Bodhi Sattva and by UK ‘disco noir’ band MADMADMAD. Also check out the music video for ‘Pele’, including some footage from IKOQWE’s first live performance.

A very welcome reissue of this amazing LP. Beautiful deep Brazilian music that soothes the soul.. Tip!!

The self-titled debut by the duo Jaime & Nair is a revelation of all sorts. Released in 1974 on CID under the influence of albums like "Clube Da Esquina" it is an expressive album full of charm through a gesture of swing. It shows an overall dreamy lullaby vibe with subtle touches of Brazilian folk and features well-known artists such as Wilson Das Neves, Orlandivo or José Roberto Bertrami as studio musicians. The outstanding and largely hailed song 'Sob O Mar' brings us back to a pure Brazilian soft-bossanova-beat adorned by luscious orchestral arrangements. It became a popular DJ tune for those in the know after being comped in the fantastic "High Jazz" series in the early 2000s, gaining this album grail status among collectors worldwide. An essential addition to any serious Brazilian music collection.

Legend has it that Brian Eno’s concept of ambient music came to him while laid up in a hospital bed after an automobile ac-cident in the 70's. A friend brought him some records, playing them too low to be properly heard, and Eno couldn’t get out of bed to adjust the volume. While the record spun softly, Eno’s idea for music you could ignore as easily as you could give it your full attention, like a sort of sonic wallpaper, was born. It’s in that spirit of quiet isolation that Ghostly International, in associ-ation with Adult Swim, shares Ghostly Swim 2, our way of giving listeners a space to get away from the manic holiday bustle.

For those keeping track at home, Ghostly is wrapping up its 15th anniversary as an Ann Arbor/Brooklyn-based indie. 2014 has seen the company soundtracking video games (Playstation’s Hohokum), collaborating with awesome companies like Warby Parker and VOID watches, and clearing 300 releases of for-ward-thinking music with records from Tycho, Com Truise, and HTRK. What better way to end this banner year than to revisit one of our favorite partnerships from the past decade and a half?

Released in 2008, Ghostly Swim was praised for its adventurous survey of exploratory dance and pop music. Our curatorial focus has shifted this time around, moving further inward (spiritually) and outward (as far as our roster goes) to reflect the electron-ic underground in all of its hazy and vibrant experimentalism. Ghostly Swim 2 is a document of textured ambient zone-outs and woozy, granular house and techno that will help you find some downtime away from The Most Wonderful Time of the Year. So sit back, lower the volume, and enjoy our selections.

“Following on from Homenagem, Lugar Alto’s first critically acclaimed project, the São Paulo label's new endeavour is the reissue of another neglected masterpiece. This time, it’s “Poema da Gota Serena” turn by Zé Eduardo Nazário from 1982. This unique work gathers elements of free jazz, Brazilian Northeastern rhythms, Asian percussive instruments and electronics.

Zé Eduardo is a virtuoso drummer and percussionist with a prolific career as a musician and teacher. He was introduced to music in his youth and started playing professionally at the age of thirteen. In the late 60’s he was a regular at the famous Totem night club in São Paulo, where he performed alongside the pianist Tenório Jr. and other exceptional instrumentalists. It was there that he met Guilherme Franco, and together they formed the Grupo Experimental de Percussão. This period defined Nazário’s interest in different sonorities involving percussion, and he broke away from the more traditional genres, such as bossa nova and jazz. Over time, this distinctiveness in sound and playing allowed him to create his own path which culminated in an extensive number of remarkable works, including the colorful and psychedelic “M andala”, which examines Indian and hippie themes. He also played with Hermeto Pascoal’s group and joined him and Jaques Morelenbaum for the recording of the cult classic “Imyra, Tayra, Ypy” by Taiguara. For Egberto Gismonti’s “Nó Caipira”, Nazário performed with the khene, a mouth organ from Laos, a present from Gismonti himself.

But it is Nazário’s work with the 1976 collective Grupo Um which is his most well-known, who, during their 6-year legacy recorded, amongst movie and ballet soundtracks, 3 albums: “Marcha Sobre a Cidade”, “Reflexões Sobre a Crise do Desejo” and “Flor de Plástico Incinerada”. The combo is considered one of the most innovative formations of its time, unusually combining electro-acoustic elements, jazz and Brazilian traditional music.

Poema da Gota Serena was Zé Eduardo's first solo project and it was financed by the legendary Lira Instrumental, a collaboration between the ground-breaking venue, label and publisher for the São Paulo avant-garde, Lira Paulistana, along with the always interesting Continental Records, home to such luminaries as Tom Zé. The album was offered as a package deal simultaneously with the production of “Flor de Plástico Incinerada”, ensuring 2 studio sessions at JV studios in October 1982.

Each side of the album explores different duets which, with its suite formated tracks, give the album the feel of a cohesive whole. The first half of the A side, “Energia dos Três Mundos”, is shared with the improvised saxophone of Cacau. Nazário delves into free jazz rhythms and plays his drums with a rolling and tumbling swing, using the kit in full, demonstrating the power of Brazilian jazz fusion. The second half of the suite takes us into a more tranquil mode. “Só Prá Ouvir”, demonstrates Zé’s mastery on the glockenspiel, and Indian percussion instruments, such as the tabla and mridangam. Cacau, on his side, switches his saxophone for more delicate dancing flute driven passages, equal parts northeastern rhythms and deep Amazonian indigenous influences. The B side, with “Prá Pensar / Prá Sentir e Prá Contar”, contrasts heavily with the A side’s more organic and natural feel. In Prá Pensar Lelo Nazários’s synth clusters and electronic blasts strangely interact with the exploring, wandering percussion. This track leads into the sublime “Prá Sentir e Prá Contar” where South Indian inspired vocals, performed by Zé Eduardo, accompany the graceful synth chords and fluttering percussion. The result is a hypnotic, otherworldly feel to the music that is infectious and takes the listener on an extraordinary journey.
With Poema da Gota Serena, it is possible to hear music that extrapolates the lines of the avant-garde and popular music. It is an album the demonstrates that Brazilian jazz fusion can be both spiritual and challenging at the same time.

All the tracks were expertly remastered by Lelo Nazário, directly from the original tapes, maintaining the high quality of production that Lugar Alto are becoming renowned for. All the artwork was reinterpreted by the São Paulo design studio Sometimes Always, including an exclusive insert and unpublished images.

It seems that Lugar Alto have managed to excavate yet another gem from the seemingly bottomless Brazilian mines. Long may they continue to do what they do so well.”

Andy Rantzen, Sydney, Australia.
This one is a special for us as we love dub and lo-fi music and also love the experiments of Andy Rantzen like "Rain in the Morning, Sun in the Afternoon / Dark Sea".
The more interesting part of the story is, that both tunes are written and recorded nearly 20 years ago by Andy - 1999-2000. But definitely still hot and vibing our sweet and sour DIY motto. We like!!!
A must in your collection!

The young virtuoso producer Prins Emanuel follows up his acclaimed debut album on Music For Dreams with something quite different than what we're used to hearing from him. While Arbete & Fritid was an epic odyssey into the furthest corners of disco with an array of studio wizardry and complex rhythms, Diagonal Musik is a sparse and delicate exploration of the acoustic guitar. Steering away from his comfort zone, the Prins follows his intuition for experimentation and lands somewhere in a field of genre-defiant folk-jazz meditations; a development that fits like hand in glove for the eccentric nature of Music For Dreams. The album reads like a soundtrack to the country house Emanuel shares with his family and friends, a place on the map called Oran. From atop a hillside overlooking a lake, Oran is lodged deep in the heart of the Skåne landscape, the southern part of Sweden that once belonged to Denmark. This place encompasses the whole of the album, as the track titles all pinpoint crucial locations on the courtyard and its surroundings. 'Orön' which opens the album is named after the small half-island that sits in the centre of the lake. There's the hand-built sauna ("Bastun") at the edge of the yard, and behind that in a slope the old root cellar ("Jordkällaren"). While the nature here is anything but balearic, the overwhelming calm of the country life seems to inspire the same laid-back attitude and passion for all things organic (and not just musically, as this is where Emanuel also makes cider from local apples according to the vin naturel school). Upon listening to Diagonal Musik one might be keen to draw references to works in similar style, such as the output of late 80's new age label Windham Hill or the dreamy lullabies of long-time friend and Music For Dreams affiliate 55 Cancri e. This is all circumstantial however, surprising as it may seem.

Hive Mind Records are delighted to present Congo, the debut album from Brazilian guitarist and composer Rodrigo Tavares.

Maintaining a meditative mood across it's nine instrumental pieces, Congo blends composition and improvisation with subtly experimental yet sophisticated arrangements that evoke the mood and rhythms of classic Brazilian artists such as João Gilberto, Dorival Caymmi, Tom Jobim, Milton Nascimento and Caetano Veloso.

Rodrigo's work draws on elements of jazz, post rock, minimalist composition and disparate global sounds to create a deep listening experience that falls between genres and wilfully defies categorisation. Congo is a lush soundworld that rewards exploration and will appeal to fans of music as diverse as Joshua Abrams and Natural Information Society, Collocutor, BadBadNotGood, Slint or late Talk Talk, as much as it does to lovers of classic Brazilian music.

Hive Mind Records are proud to be releasing Congo on vinyl in gatefold sleeve designed by Brazilian graphic artist, Andrea Gomes, and featuring the original painting of celebrated Brazilian artist, Cristiano Lenhardt.

Baiano & Os Novos Caetanos was a band formed by prolific and multi-talented Brazilian comedians Chico Anysio and Arnaud Rodrigues. Satirising Brazil's Tropicalia movement in the 1970s, the duo took a friendly crack at the likes of Caetano Veloso and psychedelic rockers Novos Baianos, with their righteous tropicalista alter-egos 'Baiano' and 'Paulinho Boca de Profeta' poetically denouncing the dictatorship while simultaneously mocking those who took themselves too seriously. Jazz funk legends Azymuth play backing band with keyboard maestro Jose Roberto Bertrami also responsible for the arrangements on the album. Azymuth's free and funky psych sounds combine with accordion, harmonica, brass and plenty of rural Brazilian rhythms, for a hugely varied album drawing on MPB, funk and soulful samba rock. The album also features Orlandivo who co-wrote many of the songs, and renowned multi-instrumentalist and producer Durval Ferreira.

7"

For our second release we may introduce the Rotterdam-based beatmaker The Soul Pilot. He is known for his funky, soulful and beats heavy productions. For Les Cidres he created two summer tunes Lawless and Craving showing more of his repertoire.
Lifting off with Lawless. In this hot, sweet, bassy piece of sexyness, being true to his name he shows his passion for vocalizing himself - letting you blush and sweat with him in this heat.
The journey continues with Craving - with this funkiness blowing through your hair, body and soul.
A summer must have! <3

We started with the principle - the cosmic idea that we were taught by our father from a very young age - that the stars and planets make a sound, that deep in outer space there is audible harmony.'With its cathedral-like, richly resonant acoustics, the new HBE album is a brilliant expression of this interplanetary principle. The album is by turns urgent and contemplative, funky and reflective, varied in its textures, but entirely of one piece. Underpinned by concepts of our earth's place in the cosmos, held in place by meditation, swirling with notions of history, science, theology, ancestry, there is a rich conceptual brew here. But always, what talks loudest is the music. The album rings with what back in the 1950s the jazz critic Whitney Balliet called the sound of surprise'. At a time when the phrase Spiritual Jazz threatens in some quarters to become a tired cliche, this is a record that makes you believe again in the genre's validity.

Talking to Cid, one of the Ensemble's two trombonists, one phrase recurs: back to the beginning'. We wanted to go back to the beginning, when we were kids, real young, and our father would wake us up at 5 AM to practice for two hours before breakfast.' One outcome - initially unplanned but subsequently embraced - is that unlike their two previous albums on Honest Jon's, this is an album without a drummer. When we started, as Wolf Pack, just brothers on the street with our horns, there wasn't a kit in sight.' Book Of Sound retains plenty of rhythmic heft, but the absence of a drummer opens up space for a notably varied instrumental palette. Acoustic guitar, piccolo, synthesiser, alto sax - none of them typical HBE Instruments - all have their place on the album. Most striking perhaps are the vocal lines that thread through the album and give it a palpable warmth. In Wolf Pack, we rapped and played, this time we took it a step further.'

Sessions were recorded in Brooklyn and Chicago, and brilliantly mixed at Abel Garibaldi's studio in the Loop ( Abel was like a musician on this record'), and it's the Hypnotic's hometown that permeates. For Cid this is a deeply Chicago record: it's got the vibe of the lake, the vibe of the prairies opening up to the west'. It also has the vibe of those Sun Ra Arkestra albums recorded in Chicago in the 1950s, and - of course - the Phil Cohran albums from the 1960s.

It's Phil Cohran (the father of all seven members of the Ensemble and their first teacher, and not just in music) who is the album's guiding spirit. For Cid it's a major regret that, in the months before their father's death early in 2017, Phil was not well enough to play on the album. He loved the whole idea, and we had the perfect place for his zither'. But Book Of Sound is a magnificent testament to their Cohran legacy. You know, it's tough trying to satisfy everybody with our music. It's hard enough satisfying ourselves, let alone the jazz scene, the hip hop guys, what have you. With this album we just dropped all that as a consideration, and tuned into deeper principles.'

A wild solo project from Rita Lee - done after the breakup of Os Mutantes, and offered up almost as some sort of commentary on mainstream rock in the 70s! There's a much more straightforward approach to the music here - a sometimes-glammy sound that's echoed by the band's space-style costumes and makeup - but there's also some weirdly old-style rock instrumentation too, almost like the way that an artist like Gary Glitter could fold the 50s and 70s together in his music, and come across making something very weird and new. Here, the keyboards are almost stronger than the guitars - and Rita herself plays moog, melotron, organ, and piano - on titles that include "Tem Uma Cidade", "Menino Bonito", "Mame Natureza", and "Eclipse Do Cometa".