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Less than a hundred miles inland from the capital city of Lima lies the great Peruvian jungle, an untamed land of impenetrable forests and endless winding rivers. In its isolated cities, cut off from the fashions of the capital, a unique style of music began to develop, inspired equally by the sounds of the surrounding forests, the roll of the mighty Amazon and Ucayali Rivers, and the rhythms of cumbia picked up from distant stations on transistor radios. With the arrival of electricity, a new generation of young musicians started plugging in their guitars and trading in their accordions for synthesizers: Amazonian cumbia was born.

Powered by fast-paced timbale rhythms, driven by spidery, treble-damaged guitar lines, and drenched in bright splashes of organ, Amazonian cumbia was like a hyperactive distant cousin of surf music crossed with an all-night dance party in the heart of the forest. While many of the genre’s greatest tracks were instrumental, and others were simple celebrations of life in the jungle, the goal of every song was to keep the party going.

Radio stations in Lima remained unaware of the new electric sounds emanating from the jungle, but a handful of pioneering
record producers ventured over the mountain passes to the cities of Tarapoto, Moyobamba, Pucallpa – even Iquitos, a city
reachable only by boat or plane – and lured dozens of bands to the recording studios of the capital to lay down their best
tracks. Although many became local hits, few were ever heard outside the Amazonian region … until now.
With eighteen tracks from some of the greatest names in Amazonian cumbia, Perú Selvatico is both the improbable soundtrack
to a beach party on a banks of the Amazon and a psychedelic safari into the sylvan mysteries of the Peruvian jungle.

Sonido Verde De Moyobamba feature on the second volume of Analog Africa's Sonic Expedition into the Peruvian Amazon, as well as being behind this brilliant new collection which drops on the same day from the same label. It is a coming together of eight super-rare cuts of guitar and organ inventiveness taken from the five albums the band recorded between 1981 and 1987 for Discos Universal. You would beard pushed to find any Cumbia from the Peruvian jungle that hits as hard as this with its incessant rhythms, mad acoustic guitars and bustling percussion.

(GF Col. LP + DL
Formed in 1980 by guitar prodigy Leonardo Vela Rodriguez, Sonido Verde de Moyobamba created some of the hardest, craziest Cumbia to emerge from the Peruvian jungle. With distorted, surf-addled guitar facing off against lysergic organ and hyperactive tropical rhythms, Sonido Verde conjured the organic sound of the dense forests surrounding their hometown while riding their dance-party grooves to dizzying psychedelic peaks.

Compiled by Analog Africa, Sonido Verde de Moyobamba presents eight ultra-rare tracks of guitar and organ madness drawn from the band’s five albums recorded for Discos Universal between 1981 and 1987. Pressed on Sun Yellow colored vinyl, housed in a screen-printed jacket and strictly limited to 2000 copies, Sonido Verde is a definitive trip into the heart of the jungle.

Limited Edition 180g LP - Comes with a Silk-Screen printed cover and a Sun Yellow colored vinyl
Download for LP from Bandcamp also includes unlimited streaming of *Sonido Verde de Moyobamba* via the free Bandcamp app along with high-quality download in MP3, FLAC and more Analog

"Hyaline" is the debut album from Ohio-born, Oakland, CA-based artist and songwriter, Maria BC. Their classically-trained mezzo-soprano voice soars over raw, etherial guitars; audio samples from Prospect Park - now almost unrecognizable - settle alongside tender, transformative harmonies. Mixing together different sessions, tracks recorded directly into their phone and samples collected over the years, Maria BC likens "Hyaline" to a "sonic collage." It"s a project of patience and trusting the process.

Gems Under The Horizon, the chillout division of Belgium’s Basic Moves returns with its second release this July, comprised of four original cuts from various artists across the globe.
Gems Under The Horizon was launched by Basic Moves label boss
Walrus originally as a Sunday daytime party series aimed at sharing electronic music in the chillout, ambient and downtempo sphere to wind down the weekend. The affiliate imprint was launched in April 2021 with material from Astral Industries artist Sonmi451 and Dylan Thomas Hayes.
Here the label returns with four new tracks welcoming an array
of new artists onto its roster and leading the way is &Apos who delivers ‘Vigo’, a hauntingly beautiful journey through swelling textures, plucked strings ethereal voices and synth modulations. Salamanda’s ‘No Vacation’ follows, the Seoul, South Korea based duo of Uman Therma a.k.a. Sala and Yetsuby a.k.a. Manda turn their focus
towards an amalgamation of gamelan like chimes, metallic percussion, organic drum grooves and flute like synth work.
Ugné & Maria’s ‘Into Orbit’ opens the flip side, as the name would suggest embracing a spaced-out aesthetic with intricately unfolding melodies, cinematic atmospherics, and gritty broken drums. Bogota, Colombia’s Manta Ray then rounds out the release with ‘Mysterious Ways’ as she traverses through off-kilter rhythms, unfurling pads,
choppy scratches, broken vocal cuts and meandering subs.

The Outer Edge is very proud to release another quite sensational release. Here are the official reworks of Hans Hass' proto-AOR / cloud rock hymn "Welche Farbe hat der Wind" (which translates to "What color is the wind").

The main producer for this release was Marian Tone (of Key Elements), who reworked the track almost from scratch. He re-recorded the drums, the bassline, and some chords while keeping Hass's original vocal layer. The distinctive guitar playing by co-composer Gabor Kristof sparkles throughout. The result is exactly what we had hoped and asked for: a DJ-friendly version of this überclassic track.

The idea for this rework project came to mind when label owner DJ Scientist got word from Tobias Kirmayer of Tramp Records that "Welche Farbe hat der Wind" would be officially re-released for the first time on his compilation series "Praise Poems" as well as on a single reissue. Scientist immediately asked if he could make an edit with louder drums to make the track more playable in a DJ set. However, as the masters of the Tramp reissues had already been submitted to the pressing plant, he was granted permission to re-license the track and rework it for his own label instead.

Hence, the reworks feature Scientist's "vintage drums" mix, which has the drums mixed louder, plus drums added at the quite psychedelic and experimental last third, with a few other sound adjustments made.

But it was up to Berlin-based DJ and music producer Marian Tone to put the icing on the cake and rework and enhance the song further with his own version. With fellow Key Elements bandmember Steffen Kieslich, he completely re-recorded the drums. Then it was up to Doron Segal to replay the bass and the keys. What we get is the classic sound of "Welche Farbe hat der Wind" - just updated and fresher.

For the first time ever, the track is also available as an instrumental version. Here, the great original guitar playing keeps the song going and going, and makes it perfectly clear that this tune, which originally came out on the schlager album "Reise in eine glückliche Zukunft" in 1974, is pretty damn funky!

It has been difficult to put "Welche Farbe hat der Wind" into a genre box, But it has been described as "rare groove","psychedelic schlager", and even "proto-AOR". For facility, Scientist has coined the new term "cloud rock" to describe this particular style of soft but groovy music. The name cloud rock bears a conspicuous reference to the krautrock genre as well. More tracks in a similar vein will be heard soon in a DJ mix under the same name.

Marian Tone's rework, as well as the corresponding instrumental version, will be released on a limited 7" single with a full-color picture sleeve. The digital release will feature the DJ Scientist re-mix plus an alternative version that puts more focus on the re-recorded bassline. In any case, this is an essential item for any music lover as well as the ideal contribution to your ultimate "cloud rock" DJ set!

Black Screen Records has once again teamed up with Focus
Entertainment to release the soundtrack to A Plague Tale:
Requiem - the sequel to the award-winning adventure game A
Plague Tale: Innocence - by IFMCA award-winning and BAFTA
nominated composer Olivier Derivière on 180g double vinyl and
CD. After signing the soundtrack for A Plague Tale: Innocence,
Olivier Derivière is back to enrich the intense emotional journey
of A Plague Tale: Requiem with his poignant compositions.
Olivier Derivière is a passionate video games composer and an
international star in the field, who won multiple awards and a
nomination for the 2017 BAFTA. His degree of implication is rare
among video games composers, putting the gameplay at the
center of his considerations and even influencing the
development through his input. The compositions also feature
the cellist Eric-Maria Couturier, and the Estonian Philharmonic
Chamber Choir. Eric-Maria Couturier is a distinguished member
of the Ensemble intercontemporain, a contemporary music
ensemble founded by Pierre Boulez, whom Eric-Maria Couturier
collaborated with among other eminent modern music icons.
The two-time Grammy Award-winning Estonian Philharmonic
Chamber Choir is one of the best-known Estonian ensembles in
the world. With a repertoire that extends from Gregorian chant
to contemporary music, it le

Jazzrausch Bigband has more or less invented a new art form,
techno jazz, and has become well-known for performances of it. But
the band also has another, different story to tell. It has invented its
own tradition of hitting the road and touring at the end of each year
with a programme consisting of Christmas music, and has been doing
this ever since the band first emerged eight years ago. Bandleader
and founder Roman Sladek explains: “Whereas our regular projects -
the most recent album, ‘Emergenz’, is a good example - are all about
working through a specific theme and finding new ways to reinvent
ourselves, our Christmas thing is something we do for one reason
alone: to have fun. It was our very first programme, we still love it, and
we’re still nurturing, developing and growing it. Being able to devote
one month a year entirely to the big band tradition is something we’re
all really passionate about.”
Some bands might have been tempted just to throw together an
album of Christmas chestnuts any old how, but the Jazzrausch way of
doing things is not like that at all. Unlike any other album by the band,
for the first time we hear purely instrumental music. Furthermore,
Kuhn has taken ten classic Christmas songs - each one of them
rarely heard in jazz, and tunes which can often come across as a bit
staid in their original settings - from ‘Tochter Zion, freue dich# to
‘Adeste fideles’ or ‘Ihr Kinderlein, kommet’. The title track, ‘Alle Jahre
wieder!’ (based on the 1830s carol to music by Silcher which is very
familiar to children and adults in the German-speaking world) appears
here in completely new orchestral garb.
Sometimes the listener will recognise the kind of swing typical of
Glenn Miller. At other moments it is the incomparable big band
elegance of, say, Artie Shaw. ‘Es wird scho glei dumpa’ (an Austrian
carol) is given the full extra high pressure Tijuana brass treatment.
‘Maria durch ein’ Dornwald ging’ gets the touch of the Thad Jones /
Mel Lewis Orchestra after a Henry Mancini-like intro, and ‘Ich steh’ an
deiner Krippe hier’ recalls more of the great swing heritage.
Once again Jazzrausch Bigband has succeeded in a way that only
very few in the jazz field can, notwithstanding the openness of the
genre: they have brought young and old together, tradition and
revolution, the familiar and the new. Which is why it feels so
completely natural and right that they should continue to do this
‘again every year’, as the album title tells them: ‘Alle Jahre wieder’.

Based in rural New Mexico, William Fowler Collins (b.1974) is a composer, recording artist and performer. His music extends across and beyond many genres including drone, minimalism, and free improvisation. He records and performs in both solo and group contexts. Collins has released music on the SIGE, Type, Blackest Rainbow, Handmade Birds, Sicksicksick and Root Strata record labels. In addition to his work as a solo artist, Collins has several collaborations including Thalassa with Aaron Turner and Mesa Ritual with Raven Chacon. He has also collaborated with Marshall Trammell, James Jackson Toth, Mamiffer and is currently working on new music with Margarida Garcia.

Alone Inside the Walls of Night is music for Mellotron, violin, synthesizers, and electric guitar. It was completed in 2022 and is dedicated to Maria Valentina Chirico. It features Heather Trost on violin. Artwork by Chris Bigg.

The meeting of Alieu and Randomized Coffee gives light to this new project, in which the Roman duo tackles a production that skillfully links Mediterranean influence to ancestral Africa in a patchwork woven of typical African ethnic elements to those of house and electronica in a "groovy" body that enhances the classical side of the African country in a modern musical mood and rhythm.

The story tells about the day before an arranged marriage ceremony.

Masanneh is a handsome and well-known man in his village of the Mandinka Tribe, born and raised in the village of Kudang, near the river that flows through the entire country; the Gambia. Many in the village believe him to be charismatic and generous, others believe him to be a venal materialist devoted to money. Masanneh decides to consult Cherno Jallow, a wise Marabout, to figure out how to deal with his future. He therefore moves westward to the village of Bondali, in Foni, where before practicing his work as a skilled trader he talks to Landing Sawo, the district chief, from there he hears the sound of a Kora played by Jali, while across the road he sees a beautiful woman Mariama Gomez passing by.

Eliades Ochoa has been renowned for over 40 years as a Cuban singer, guitarist and performer, including as a key contributing artist to the multi-million selling 1997 ‘Buena Vista Social Club’ album. World Circuit now releases a Special Edition of Ochoa’s latest album ‘Vamos A Bailar Un Son’. Originally released in 2020, the album features Eliades’ interpretations of songs by important Latin American composers like Ñico Saquito and Agustín Lara, as well as compositions by Eliades himself. The new Special Edition is available on CD, LP and digital formats and features 3 previously unheard bonus tracks. Ochoa continues to explore new collaborations, having recently teamed up with Spanish rapper C. Tangana on his track ‘Muriendo De Envidia’. Eliades comments: “This album has made me feel more alive. I am thrilled that more and more young people are connecting with my music.”

2022 repress

This limited edition vinyl includes numerous songs by Italian composer Stelvio Cipriani, the man behind the superb soundtrack of Poliziottesco movie La Polizia Sta A Guardare (1973) whose main theme was reborn in 2007 on Quentin Tarantino’s Death Proof, multiple scores for Spaghetti Western movies starring Tony Anthony, as well as a Nastro d’Argento award for best score for The Anonymous Venetian (1970).

Also found on Pieces are compositions by Carla Maria Cordo who scored Joe D’Amato’s gorefest Absurd (1981) that some might know as Anthropophagus 2, Monster Hunter, Horrible or The Grim Reaper 2 - a movie so shockingly violent it became one of the Video Nasties of the UK and was successfully prosecuted under the Obscene Publications Acts in 1984.

Lucio Fulci’s frequent collaborator Fabio Frizzi (responsible for the music of classic horror movies Zombie aka Zombi 2, L’Aldilà aka The Beyond, City of the Living Dead aka The Gates of Hell and the list goes on) also makes a special appearance with the sexy « Cocktail Molotov ».

Levitation Orchestra are the next progression of London's vibrant jazz scene. A vibrant collective with a balanced, workshop-orientated approach to composition, members include Axel Kaner-Lindstrom (Cykada), Xvngo (Nihilism, SEED Ensemble), and Maria Zofia Osuchowska (Alabaster dePlume). Their alternative instrumental line-up, spiritual jazz-informed groove, hard-hitting spoken word verses and highly original compositions are taken to the next level with their forthcoming album, Illusions & Realities.

Wau Wau Collectif's second album, Mariage, is instilled with a newfound sense of purpose. Expanding upon the inspirational themes of their acclaimed 2021 debut, Yaral Sa Doom (Educate The Young), this long distance collaboration from musicians in Senegal and Sweden's Karl Jonas Winqvist is an even more stylistically expansive affair. Joyful children's songs collide with fuzzy guitar solos and thumping hip-hop beats. Shimmering synths lift off from the plunky percussion of the balafon and versatile sounds of the 22-string kora. Familiar voices from the first album return with more explicitly political lyrics, while the music feels both rhythmically dense and sonically weightless, flowing from one spellbinding moment to the next. For Mariage, band members from each country were inspired to include a wider array of instrumental flourishes unique to their cross-continental collaboration. "Yay Balma" revolves around the cycling riffs of Jango Diabaté's xalam guitar, as this song's fuzzy tones and soaring sax solos open side two with a bang. "Pitchi Goubidi" provides a stark contrast, with the kora played like a harp and Gilbert Badji's gravelly lyrics about "the bird of the night" disappearing into dubbed-out chamber pop. Winqvist's omnichord hovers back into focus on "Yonou Natangue," a free-floating jam that maintains the messages of Wau Wau Collectif's debut, promoting youth education to address the social issues facing contemporary Senegal: "Peace is the better wealth / The way to wander."

ACID KLAUS, the new collaborative solo project from songwriter-producer and Northern England cult leg-end, Adrian Flanagan (The Moonlandingz, International Teachers of Pop, Eccentronic Research Council & lots more) announces his debut concept album co-produced with his music partner in the ERC, Dean Honer titled Step On My Travelator: The Imagined Career Trajectory of Superstar DJ & Dance-Pop Producer, Melvin Harris which will be released on Yard Act"s ZEN F.C. label. The album features contributions from Adrian"s long-time collaborators and friends including actress, Maxine Peake, US musician and video director, Charlotte Kemp Muhl (Ghost of a Sabertooth Tiger), Maria Uzor from Sink Ya Teeth and the Bradford-born pop-noir singer (currently singing in The Specials), Hannah Hu who is joined on lap steel guitar on a track by Richard Hawley. The album is completed by a whole host of fresh and exciting artists (as well as the aforementioned Lieselot Elzinga) - there"s the enigmatic Queen Bee of the Calder Valley, solo artist, Bianca Eddleston who goes under the name Soft Focus and finally from South Wales (and the current talk of the South London scene), the incredible welsh language singer-songwriter, Cat Rin.

Born and raised in the piney woods outside of Haynesville, Louisiana, Chris Canterbury comes from the grimy remnants of a small oil patch town, a way of life that is slowly fading but still lingers in the songs he sings. Born to a working-class blue-collar family, Chris struggled to find the middle ground between his grandfather’s Southern Baptist sermons and the honky-tonk mystics that he discovered on old vinyl records in high school. Armed with an old thrift-shop guitar, Chris began playing and writing stories about life from a unique but oddly familiar point-of-view. Songs about liquor stores, truck stops, low-rent motels, and the grifters and transients that frequent them. It doesn’t matter if it’s a pool hall or a theater, a festival or a front porch, Chris’s live sound is the whiskey-laden prospectus that anyone with a struggle can relate to.

The ECM New Series debut of Evgueni Galperin is one of the most
strikingly original and evocative albums of the year
A composer of Russian and Ukrainian heritage, currently based in France,
Galperin is working with sound, texture and dynamics in new and powerfully
expressive ways. As he explains, the sound world of Theory of Becoming
represents an "augmented reality of acoustic instruments, created from
recordings made with real and virtual instruments. The numerous
transformations the instruments undergo allow me to capture their acoustic
nature while also adding techniques and colours impossible to produce in
reality..."
Galperin's compositions address wide ranging subjects: from the resilience of
hope in the face of destruction to meditations on the journey of the soul, as well
as travels through space and through the magical forests of Max Ernst's
paintings.
Theory of Becoming was recorded and mixed 2020-21 in Paris, at Studio EPG and
Studios de la Seine and was produced by Manfred Eicher.
Evgueni Galperine: composition
Maria Vasyukova: voice
Sergei Nakariakov: trumpet
Sebastien Hurtaud: cello

Der weltweit erfolgreichste Chor aller Zeiten setzt seine
Pure Chants-Reihe auch in diesem Jahr fort. Getreu dem
Motto: "In der Ruhe liegt die Kraft", nahmen Gregorian einen
großen Teil der Lieder weitgehend ohne instrumentale
Begleitung auf, um sich ganz auf die Kraft und Schönheit
der menschlichen Stimme zu fokussieren.
Bereits im November bereiten Gregorian ihren Fans ein
verfrühtes Weihnachtsfest und erweitern ihr wundervolles
Pure Chants-Repertoire um 12 brandneue Songs.
Pure Chants II vereint erneut wunderschöne und zeitlose
Neu-Interpretationen, darunter dieses Mal so berühmte
Klassiker wie „Greensleeves“, „Ave Maria“ oder „Hallelujah“.
Der jüngste musikalische Zuwachs enthält alles, was man
sich für eine entspannte winterliche Jahreszeit wünschen
kann und lädt mit den puristischen Chorgesängen dazu ein,
die Seele baumeln zu lassen und Kraft zu tanken.
Als besonderes Highlight für Sammler erscheint zudem
zeitgleich die erste Edition von Pure Chants als streng
limitierte und nummerierte Vinyl.