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*Repress*

An artist as imaginative and unique as Ana Mazzotti doesn’t come around often. Dubbed a “super-musician” by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti’s short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti’s premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society.

Born in Caixas, in Brazil’s Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school’s choir, and at twenty-one she led her city’s premier chorus, the Coral Bento Goncalves. When rock and roll hit South America in the sixties, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with.

In 1974 Mazzotti recorded her first album Ninguem Vai Me Segurar (1974), enlisting the in-demand arrangement talents of Azymuth’s original keyboard maestro Jose Roberto Bertrami who co-wrote several of the tracks and plays organ, piano and synthesizers on the album. It also features Azymuth’s bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it’s no wonder the samba jazz-funk pioneer’s distinctive aesthetic is present throughout, and Mazzotti’s sensational compositions are made even more beautiful for it.
Kicking off with the swirling samba-jazz-dance masterpiece ‘Agora Ou Nunca Mais’, the album hosts several groove-heavy Brazilian cult-classics including ‘Roda Mundo’ and ‘Eu Sou Mais Eu’. Deeper moments come in the form of the alluring future soul synth sounds on ‘Bairro Negro’ and ‘Sou’, and Mazzotti’s tender, hallucinatory version of ‘Feel Like Making Love’ (made famous by Roberta Flack) perfectly reflecting the idiosyncratic genius Mazzotti achieved with Bertrami’s visionary arrangements, and Romildo’s impeccable production approach.

Far Out Recordings is proud to present the official reissue of this cult favourite Brazilian treasure. Remastered and pressed to 180g vinyl, Ninguem Vai Me Segurar (1974) will be available on vinyl LP, CD and digitally from 13th September.

repress !

First vinyl slice of the year and a brand new act onboard: El Joven Prisionero. We have been told that this project is made by two well known experts: Oscar Mulero and Another Machines.

About the music, three cuts on vinyl and four on digital, all named in Spanish to add more confusion for the non speakers.

El Joven Prisionero opens the EP in a gymnastic mode, solid kicks, an energized raw sequence setting things up and a mutant structure. A proper bullet for the post restricted dancefloors when ready.

Agitate incides directly on the most sensible parts of your mind and sound receivers, hysterical synth lines running over a shuffled beat and random resonant bleeps. Another physical exercise of abstract dancefloor weaponry.

Extrano Mundo follows, an elastic beat runs alone on the first bars, soon joined by martian and asymmetrical sequences growing from below. Additional percussive layers complete the equation, that as always is wisely administered on an intelligent arrangement.

Here we are at the dawn of a new compilation series and we’re kicking things off with an absolute gem that features a selection of hard-to-find records (some impossible to find) and some that have been hiding in plain sight all along. They all share common qualities, being that they are beautiful, soul quenched songs that sing of love, peace and unity.

‘With Love: Volume 1’ has been compiled by Miche and presents a curated selection of rare Brazilian, gospel, modern soul and jazz-fusion fire. We have Brazilian rarities by Alcione and Quientaessencia, UFO gospel by Keith Chism & Light, the jazz-funk/AOR sounds of City Lites taken from a Radio Station album, and the anthemic feel-good emotional soul of Belita Woods to name but a few.

Tracking down artists and musicians from the past is an art form. Like a seagull swooping for treats, sometimes the prizes are easily found, and at other times, it’s the result of very late nights trolling through Facebook profiles, message boards, hitting dead ends and following red herrings, and yet still the search goes on. This compilation is a true labour of love with all the artists tracked down and licensed by Miche. It has long been an ambition of the London based musical connoisseur to compile an album, and like anything that requires craft, care, and knowledge - it takes time. There are many twists and turns in the hunt for those records that make your jaw drop.

In 2018, when just 24, Miche became a music programmer for London’s illustrious Spiritland group of venues. From this musical sanctuary, he was able to listen, learn and meet some of the best selectors from around the world. It was a musical education, and he was particularly drawn to the deep sessions by DJs such as Mark Taylor, George Arthur, Kev Beadle, Patrick Forge, Dr. Bob Jones, and Colin Curtis to name a few. He also used this time to begin running his re-issue label Discs of Fun and Love with co-owner and friend Frederika.

Sometimes the cynical knock compilations, there is certain snobbery amongst some about the original pressing, but music shouldn't just be about lucky collectors giving over large sums of money to record dealers. It's also about a bridge to the past, a celebration of the legacy of somebody’s art, and a second chance for initially overlooked work to shine. As with all the best compilations, it has been compiled with love…

Following the fast-selling debut of Legend Has It… #1—the first collaboration between Mass Appeal Records and Marvel Comics—Mass Appeal expands the series with a special set of Marvel variant vinyl releases. This collection brings seven iconic LPs to life in vinyl form, each featuring original artwork by acclaimed artists Sanford Greene, Mike Del Mundo, Taurin Clarke, Ariel Olivetti, Edwin Galmon, Greg Land, Salvador Larroca, and Kagen McLeod.

After digging deep into the overwhelming archives of Discos Fuentes, Codiscos and Discos MAG in our previous volumes, this fourth instalment in the series "Cumbia Cumbia Cumbia!!!" comprises 28 Colombian cumbia bangers for the dance floor from the deep vaults of Discos Tropical, all of them originally released between 1960 and 1984. The historical origins of cumbia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together. Discos Tropical was a Barranquilla-based label founded in the mid-1940s by Luis Emilio Fortou Pereira, a visionary who helped define Colombian dancing habits and tastes from the previous century. Until the late '50s, most cumbias were orchestral-based. However, even though formats and styles diversified from the following decade onward, these highly popular big bands spectacularly defined the sound of Discos Tropical and livened up the most cosmopolitan dances in the major coastal cities. After the mid-'60s, the big bands gradually fell into decline, but the popular demand for tropical music did not. Facing this situation, the major record companies created smaller-format groups with one particular feature: they mixed accordion music with brass bands. This new volume of "Cumbia Cumbia Cumbia!!!" combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns. Double Vinylalbum

Una interpretación de Soinuarenbidea II debería partir de esta premisa: todo es posible, nada es aleatorio, y en sí mismo es un imposible de aleatoriedades. El escenario planteado explora la idea de realidad aumentada desde una percepción sonora, ambiental y colectiva. La obra transita hacia adelante y hacia atrás recreando experiencias extintas de porvenir incierto, tratando de facilitar un fin pacificador. Cada pieza sonora se crea, se despliega, se repliega y se destruye, en una torsión permanente de toda la realidad que hace posible cada fragmento musical, cada identidad acústica, cada espacio sonoro. Lo onírico, la ficción, y el viaje están continuamente presentes, y es en el transitar de cada fragmento donde se produce el diálogo de la exposición musical. Los elementos de esta ficción se recrean continuamente, en un continuum donde se entrelazan y se van contorsionando a medida que crecen o decrecen con cada fragmento de síntesis concreta. Los temas explícitamente musicales son el magma que conduce a dar voluptuosidad al disco, siendo la piel un contexto o límite que en sí mismo fluctúa indefinidamente en texturas y configuraciones posibles. Y la urdimbre del silencio es la síntesis que está continuamente presente y que trata de cohesionar los fragmentos en continua colisión expresiva. Las grabaciones de campo proporcionan el material sonoro concreto, y como un fractal sonoro cada una de ellas ofrece diferentes grados de interpretación que a su vez conduce a nuevos fragmentos y nuevas creaciones. Así que se puede pensar que esta es una síntesis de una posible realidad, pero interpretable en infinidad de maneras. Un movimiento y una estaticidad implícitas que generan estructuras y dinámicas acústicas. Lo que se escucha no es real, pero en sí mismo forma parte de la realidad, creando un escenario expectante. Lo cinematográfico, plástico y teatral, danzante y dinámico cobra importancia en este juego, porque se trata de contar una historia, una experiencia recreada desde los puntos de vista del arte visual. Es a su vez hilo conductor y entretenimiento, discurso político y puro divertimento. Es desde este espacio de convivencia artística que tiene sentido la totalidad y justifica el formato sonoro planteado. La contradicción de la obra es patente en el formato, y es a su vez el planteamiento de una accidentalidad en el devenir vital. Contenedor de Ruido recoge todas estas contradicciones y las manifiesta en la obra Soinuarenbidea II. Es una historia sonora, es un cuento acústico. Es un fragmento de vitalidad en imágenes audibles. Es una invitación a la reflexión, a la crítica, al disfrute, a la meditación, a la celebración. Y sobre todo es esperanzadora apreciación de la realidad como algo maleable que confeccionamos colectivamente, que requiere de una paciente observación y la participación colectiva global, en un mundo finito pleno de diversidades y del que ignoramos prácticamente todo, al que deberíamos volver con respeto y devoción.

Soinuarenbidea II-ren interpretazio batek premisa honetatik abiatu beharko luke: dena da posible, ezer ez da ausazkoa, eta, berez, ausazkotasun ezinezko bat da. Planteatutako agertokiak errealitate areagotuaren ideia aztertzen du, soinu-, ingurumen- eta talde-pertzepzio batetik abiatuta. Lanak aurrera eta atzera egiten du, etorkizun zalantzagarriko esperientzia desagertuak birsortuz eta helburu baketsua lortzen saiatuz. Soinu-pieza bakoitza sortu, hedatu, tolestu eta suntsitu egiten da, musika-zati bakoitza, identitate akustiko bakoitza eta soinu-espazio bakoitza ahalbidetzen dituen errealitate osoaren etengabeko bihurdura batean. Onirikoa, fikzioa eta bidaia etengabe daude presente, eta pasarte bakoitzaren joan-etorrian gertatzen da musika-erakusketaren elkarrizketa. Fikzio honen elementuak etengabe birsortzen dira, continuum batean, non sintesi zati zehatz bakoitzarekin hazi edo txikitu ahala elkar lotzen eta bihurritzen diren. Esplizituki musikalak diren gaiak diskoari atsegintasuna ematera eramaten duen magma dira, azala testuingurua edo muga izanik, testura eta konfigurazio posibleetan mugarik gabe aldatzen dena. Eta isiltasunaren irazkia etengabe presente dagoen sintesia da, zatiak etengabeko adierazpen-talkan kohesionatzen saiatzen dena. Landa-grabazioek soinu-material zehatza ematen dute, eta soinu-fraktal batek bezala, horietako bakoitzak interpretazio-maila desberdinak eskaintzen ditu, eta horrek, aldi berean, zati eta sorkuntza berrietara eramaten du. Beraz, pentsa daiteke errealitate posible baten sintesia dela, baina hamaika modutan interpreta daitekeena. Egitura eta dinamika akustikoak sortzen dituzten mugimendu eta estatikotasun inplizitu bat. Entzuten dena ez da erreala, baina, berez, errealitatearen parte da, eta agertoki espektakularra sortzen du. Zinematografikoak, plastikoak eta antzerkikoak, dantzariak eta dinamikoak garrantzia hartzen dute joko honetan, ikusizko artearen ikuspegitik birsortutako istorio bat, esperientzia bat, kontatzea baita helburua. Aldi berean, hari gidaria eta entretenimendua da, diskurtso politikoa eta dibertimendu hutsa. Elkarbizitzarako espazio artistiko honetatik osotasunak zentzua du eta planteatutako soinu-formatua justifikatzen du. Obraren kontraesana nabarmena da formatuan, eta, aldi berean, bizi-bilakaeran istripu-tasa bat planteatzea da. Zarata-edukiontziak kontraesan horiek guztiak jasotzen ditu eta Soinuarenbidea II obran adierazten ditu. Soinu istorio bat da, ipuin akustiko bat. Bizitasun zati bat da, irudi entzungarrietan. Hausnarketarako, kritikarako, gozamenerako, meditaziorako eta ospakizunerako gonbidapena da. Eta, batez ere, itxaropentsua da errealitatea modu kolektiboan egiten dugun gauza xaflakor gisa hautematea, behaketa pazientea eta partaidetza kolektibo globala eskatzen dituena, dibertsitatez betetako mundu mugatu batean, ia guztia kontuan hartzen ez duguna, eta errespetuz eta debozioz itzuli beharko genukeena.

An interpretation of Soinuarenbidea II should start from this premise: everything is possible, nothing is random, and in itself is an impossible randomness. The proposed scenario explores the idea of ​​augmented reality from a sonic, environmental, and collective perception. The work moves back and forth, recreating extinct experiences of an uncertain future, seeking to facilitate a peaceful end. Each sound piece is created, unfolds, retreats, and is destroyed, in a permanent twisting of all reality that makes each musical fragment, each acoustic identity, each sonic space possible. The dreamlike, the fictional, and the journey are continually present, and it is in the transit of each fragment that the dialogue of the musical exposition takes place. The elements of this fiction are continually recreated, in a continuum where they intertwine and contort as they grow or diminish with each fragment of concrete synthesis. The explicitly musical themes are the magma that leads to the work's voluptuousness, the skin being a context or boundary that in itself fluctuates indefinitely in possible textures and configurations. And the warp of silence is the synthesis that is continually present and seeks to unite the fragments in a continuous expressive collision. The field recordings provide the concrete sound material, and like a sonic fractal, each one offers different degrees of interpretation that in turn lead to new fragments and new creations. So one can think of this as a synthesis of a possible reality, but interpretable in an infinite number of ways. An implicit movement and staticity that generate acoustic structures and dynamics. What is heard is not real, but in itself is part of reality, creating an expectant scenario. The cinematic, plastic and theatrical, dance and dynamic aspects take on importance in this game, because it is about telling a story, an experience recreated from the perspective of visual art. It is at once a common thread and entertainment, political discourse and pure entertainment. It is from this space of artistic coexistence that the whole makes sense and justifies the proposed sound format. The contradiction of the work is evident in its format, and it is, in turn, the presentation of an accidentality in the course of life. Noise Container gathers all these contradictions and manifests them in the work Soinuarenbidea II. It is a sound story, an acoustic tale. It is a fragment of vitality in audible images. It is an invitation to reflection, to critique, to enjoyment, to meditation, to celebration. And above all, it is a hopeful appreciation of reality as something malleable that we collectively craft, requiring patient observation and global collective participation, in a finite world full of diversity and of which we know practically nothing, to which we should return with respect and devotion.

Paisajes sonoros, diseño sonoro, drones y música grabada, realizada y arreglada para Contenedor de Ruido por David Aranaz. Coro: Basandere Ahotsak. Producido y mezclado por David Aranaz. Mástering: Estanis Elorza. Fotografía: David Aranaz. Texto: David Aranaz. Traducción: Saioa Aranaz Oreja. Trabajo y Diseño artístico: Cristina Martinez. Edición: Contenedor de Ruido Producciones y Sarbide Music. Distribución: Contenedor de Ruido.

Contenedor de Ruido agradece el apoyo en la realización de Soinuarenbidea II al coro Basandere Ahotsak y en especial a Eva Orbara Goicoa.

Soinuarenbidea II está dedicado al pueblo palestino.

Paisajes y objetos Sonoros, samplers y otras músicas transformadas para Soinuarenbidea II
Burlada: Paseos sonoros matinales por Merindad de Sangüesa, Calle Mayor, Capuchinas, Parque Uranga y varias iglesias y plazas. Pasajes del cotidiano: basura de papel, cristal y plástico.
Pamplona: Cementerio de San José. CEIP Sanduzelai /// Quinto Real: Fábrica de Armas, Puerto de Urkiaga y alrededores. Suite del silencio, bosques en movimiento /// Fábrica de armas de Orbaiceta: regatas, biosques, paseo sonoro hasta regata /// Belate: Puerto de Belate y alrededores. Vacas en pradera junto a las turberas /// Bardenas Reales: Suite de guitarra y Suite del silencio, estepa desértica /// Austria: Tranvías de Graz y Viena. Muchedumbre del metro de Viena.
Voces cinematográficas de: Matanza en Texas, Robocop, Espíritu Sagrado, Solo los Amantes Sobreviven, Voces de Gaza, Yojimbo, Terciopelo Azul, Los 7 Magníficos.
La pista A2 está dedicada a la memoria de David Lynch.
La pista B4 está dedicada a Eva Orbara Goicoa.
Pista A4: Contiene interpretaciones de piano de Three Piano Pieces Op.11 de Arnold Schoenberg.
Pista A5: Es una interpretación expandida con síntesis FM del Concerto Op. 24 - Etwas lebhaft - de Anton Webern.
Pista A7: Contiene la canción Besarkatu ninduzun (Letra de Josune López y música de Josu Elberdin) en interpretación de Basandere Ahotsak en la iglesia de Burutain bajo la tormenta.
Pista B2: Contiene la canción Recuerdos de la Alhambra (Fernando Tárrega) en interpretación torsionada de David Aranaz Sarasa.
Pista B14: Contiene la canción Agur María (Letra y Música de Estíbaliz Robles “Estitxu” y arreglo exclusivo de Alfonso Ortiz para Basandere Ahotsak) en interpretación de Basandere Ahotsak.

Equipamiento para Soinuarenbidea II.
Micros de condensador SE7, configuración XY y ORTF; Micros de cinta ORTIZ LUTHIER configuración XY y Blumlein; Grabadoras MARANTZ y ZOOM; Sintetizadores y samplers Elektron MONOMACHINE SPS-1, MACHINEDRUM SFX6 y MODEL:SAMPLES. Dave Smith MOPHO. Torso Electronics S-4. Sintetizador Modular 333 DIY; Guitarra clásica ALHAMBRA 6P; Esculturas Sonoras tipo Baschet, cristal y metales; Mesa Soundcraft FX16ii; Interface de Audio RME Babyface Pro FS; DAW Logic Pro; Procesamiento de modelado analógico con Acústica Audio, Waves, Softube, Brainworx, Sonible, Analog Obsesion, Tokio Dawn. Metering de Logic y RME DigiCheck . Amplificación Hafler PRO2400. Monitorización BW DM602 S3. Mezcla digital; Mastering híbrido.

Few producers have had the same seismic impact on techno and rave music as Joey Beltram. Hailing from Queens, New York, Beltram was a key architect of the early '90s rave explosion and responsible for some of the most influential electronic records of the era - and it was Belgium’s R&S Records that gave many of these tracks their first home.

Originally compiled and released by R&S in 1996, Classics brings together the core of Beltram’s groundbreaking early output - namely the Beltram Vol. 1 (1990) and Beltram Vol. 2 (1991) EPs, alongside the legendary Second Phase productions ‘Mentasm’ and ‘Mind To Mind’ (1991), plus a selection of aliases and collaborative work from the same period, including tracks under Mental Mayhem, Open Mind, and Disorder.

Now remastered and reissued as a 2LP set for 2025, Classics is available on vinyl for the first time since 2006, offering a long overdue opportunity to own these timeless cuts in their purest form. Across the 13 tracks, you'll hear the sheer force and innovation that made Beltram a household name in underground techno.

Integral to this collection are ‘Jazz 303’ and ‘Psycho Bass,’ co-produced with Norwegian techno innovator Per Martinsen (aka The Alien), which stand out for their experimental, forward-facing sound - highlighting a futuristic edge even within Beltram’s already pioneering catalogue. Elsewhere, his Second Phase project with Mundo Muzique delivers the seminal ‘Mentasm’ and ‘Mind To Mind,’ two foundational tracks that introduced the infamous “hoover” sound to dancefloors worldwide. Rounding out the set are deeper cuts under his aliases Mental Mayhem, Disorder, and Open Mind, capturing the breadth of Beltram’s restless creativity and technical command during his peak R&S years.
Classics’ by Joey Beltram is available on R&S Records from 25th July 2025.

The 3rd and final chapter in Cochemea's epic quest to explore and express the spiritual connection between his art and ancestry. For Vol 3: Ancestros Futuros, Cochemea entrusted his vision to a core group of longme collaborators-a powerful octet composed of New York-based percussionists and members of Daptone's famed rhythm section. Gabriel Roth (aka Bosco Mann) reprised his role as producer, recording and mixing the album live to 8-track analog tape. Cochemea continues to push the boundaries of his sound, blending past, present, and future into a ritual offering-an evolving sonic narrative where memory, survival and creativity converge.

Schema Records proudly presents PRELUDE, Stefano “S-Tone Inc.” Tirone’s tenth album in his 30-year career. It is available from October 10th, 2025, in the usual digital/streaming formats, as well as LP (10 tracks) and CD (15 tracks); the latter contains, in addition to the tracks on the vinyl, the singles already released on 7” (“In the Sand”, “Tudo Pra Ela”) and remixes of “Pressure”, “Vento Doce” and “Longe De Voce”.

Various different styles harmoniously coexist in “Prelude”: the soul, funk, disco and house tracks embellished by Julia St. Louis’s black voice and Laura Fedele’s jazz-blues timbre alternate with Latin and Brazilian atmospheres in the tracks that host the precious collaboration with Toco, up to a stunning reinterpretation of Santana’s “Guajira” performed by Manuela Ravaglioli, a long-time S-Tone Inc.’s guest vocalist, and German Leguizamon, an Argentine artist with a brilliant career in the 90s dance music.

The title “Prelude” is a double homage: to the legendary homonymous American record label that defined the New York disco sound between 70s and 80s, and to Eumir Deodato’s masterpiece released on CTI in 1973, a sublime example of cross-genre fusion that has always been a source of inspiration for the refined and cosmopolitan blend of music styles that has made S-Tone Inc.’s sound unique and that is firmly reaffirmed in this new record.

For the first time ever, the only full-length album by Spanish soul and garage legends Z-66 is being reissued. Z-66's signature blend of powerful soul, psychedelia, and pop-clearly influenced by bands like The Move, Stones, Vanilla Fudge, and Blood, Sweat & Tears delivers a bold, modern sound that remains fresh and compelling. Unlike other Spanish bands of the time, Los Z-66 enjoyed unique conditions that allowed their sound to stand out as one of the most advanced on the local scene in the late 1960s. As was the case with many other groups, their repertoire for entertaining discotheques had to include the hits of the moment and was not always open to the songs of the most daring international bands, which was the sound that most stimulated the musicians. In the case of Los Z-66, being based in Mallorca meant they had privileged access to hard to-find records, imported by foreign tourists, and to a much more modern atmosphere than in other parts of the country. Songs in Italian and French soon gave way to English hits by the Animals, the Stones, and the Beatles. But it was the offer received from Mike Jeffries, manager of Jimi Hendrix, the Animals, and others, to serve as the house band at the newly opened club Sgt. Pepper's that allowed the group to raise their live performances to a level rarely seen in these parts... They even soon incorporated the distorted sound of fuzz into their guitar when they received a fuzz face pedal as a gift from Jimi Hendrix himself, who was invited to play at the club's opening! Their excellent blend of stunning soul, psychedelia, and pop became their hallmark, not only in the band's concerts but also in the handful of singles and EPs they released on the Regal label. We are now re-releasing for the first time their only full-length album, originally published in 1969, which is actually a compilation of songs previously released in 45 rpm format, complete with two bonus tracks not included on the original LP plus a booklet with liner notes and rare photos.

This is a reissue of the original 1963 album El Decano De Los Cantores 4. Chuíto el de Bayamón (Jesús Sánchez Erazo) was a legendary Puerto Rican troubadour and one of the earliest jíbaro singers to appear on the radio, also known as "el decano de los cantores" (the dean of the singers). Known for his witty décimas and lively improvisation, he helped popularize traditional Puerto Rican music. His work influenced generations, including salsa greats like Héctor Lavoe. In the 1940s, he became the lead-singer for cuatro player and composer Ladislao "Ladí" Martínez's Conjunto Típico Ladí, created in New York City. With Ladí, he recorded "Un jíbaro en Nueva York," a controversia with Ernestina Reyes "La Calandria." It was actually Ladí who baptized him as "Chuíto el de Bayamón". From 1949 to 1977 Chuíto collaborated with Abelardo Díaz Alfaro, the famous Puerto Rican author, in the radio program "La vida de Teyo Gracia y su mundo" aired in WIPR. In addition, Chuíto participated in the films "La trulla" (1951), "Preciosa" (1965), and "El otro camino" (1959). Throughout his career Chuíto recorded more than 40 LPs and performed in New York, Boston, Chicago, New Jersey, Hawai'i, Spain, Cuba and other Latin American cities. His repertoire is characterized by its witticism and sense of humor, and sophisticated musical arrangements. Along with Flor Morales Ramos "Ramito", Odilio González and Daniel Santos, he had a huge influence in the singing style of Puerto Rican salsa star Héctor Lavoe. In 1975 and 1976 he was recognized with the "Agüeybaná Gold Album" award. This is the forth edition of Ansonias Chuito reissue series.

"Taking influence from the pioneers of Música Popular Brasileira, Wolfgang Pérez has crafted an exquisite album of summery experimental pop music that encapsulates the beauty and chaos of modern Brazil. A must-listen for fans of Tom Zé, Gilberto Gil, Kiko Dinucci, Negro Leo, Ricardo Dias Gomes, and João Gilberto.

Genre-blending songwriter, arranger, and guitarist Wolfgang Pérez is set to release his highly anticipated new album Só Ouço in July 2025 on Hive Mind. Known for his unique fusion of influences, the German-Spanish artist first captured attention with his 2021 debut WHO CARES WHO CARES (Fun In The Church), followed by the critically acclaimed Spanish-language album AHORA (BAUMUSIK, 2024).

Só Ouço is the fruit of an 18-month creative residency in Rio de Janeiro, where Pérez collaborated with a group of young Brazilian musicians. Deeply inspired by the city's sounds and rhythms, the album marks an exciting chapter in Pérez’s evolving artistic journey.

In 2022, Wolfgang Pérez arrived in Rio de Janeiro on a university exchange to study composition, and quickly found himself immersed in the city’s rich musical landscape. Introduced early on to Rio icons like Thiago Nassif, Arto Lindsay, and Ana Frango Elétrico, what began as a semester turned into a transformative three-semester stay. Pérez absorbed the city's contrasts - it's beauty, its people, it's chaos and violence, all it's contradictions and life - while deeply studying Brazilian music at UFRJ/UNIRIO under the guidance of masters Josimar Carneiro, Marcello Gonçalves and Almir Cortes.

Wolfgang spent the first 6 months or so soaking in as much as possible, going to shows, to the baile funk parties, walking the streets, hiking the mountains in and around Rio, listening to music, making friends, learning where to go and where not to, learning the language, learning the slang, incorporating the culture. He used the time to forget himself in the vibrance of the city.

After this the band came together through a series of chance encounters and happy accidents...some loose jam sessions led to shows around Rio, where Wolfgang, alongside Luis Magalhães (bass), Pedro Fonte (drums) and Paulo Emmery (electric guitar), started to flesh out some of Wolfgang's compositions. At a show at Audio Rebel they met Angelo Wolf (owner of Wolf Estúdio and engineer for artists such as Bala Desejo, Dora Morelenbaum, Zé Ibarra, Marcos Valle, Antonio Neves and Ana Frango Elétrico); moved by the music, Wolf offered Pérez residency and studio time at Wolf Estúdio, providing the foundation for Só Ouço. Angelo was a catalyst for the production of Só Ouço, his openness and generosity helping to shape the sound of the record. Carol Maia, a young guitarist, lyricist and singer brought a sensitivity and tenderness to the songs, while Antonio Neves helped to pull together the brass and woodwind players who would complete the lush sound of the album.

Meticulously arranged, and beautifully composed, Só Ouço is a joy to listen to and surprising at every turn. Classic songwriting and cutting edge production blend to produce an album that is by turns tender and gentle, abrasive and unsettling, a joyful celebration of life in all its complexity."

"Na Rua, na Chuva, na Fazenda" is a landmark 1975 album by Hyldon, a key figure in Brazilian soul music. His debut release was one of the top-selling albums that year, capturing the vibrant musical spirit of the 1970s and reflecting the influence of the black power movement alongside artists like Tim Maia and Cassiano. With a mix of MPB, soul, and funk, Hyldon brought his unique sound to life, collaborating with influential artists and contributing to the Brazilian music scene. With a mix of MPB, soul, and funk, Hyldon brought his unique sound to life, collaborating with influential artists like Azymuth. The album, which features the iconic title track, is a celebration of love with timeless songs like 'As Dores do Mundo', 'Na Sombra de uma Arvore' and 'Meu Patuá.' Produced by Guti Carvalho with arrangements by Hyldon and Waldir Arouca Barros, the studio band included the talented musicians from Azymuth (José Roberto Bertrami, Alex Malheiros and Ivan Conti "Mamao"), making it a memorable piece of Brazilian musical history. This album has earned cult status over the years, securing its place as one of the most coveted Brazilian records of all time. Once incredibly rare and expensive, it's now at the top of every serious collector's wishlist. After being unavailable outside of Brazil for years, it's finally been reissued - don't miss your chance to own this legendary piece of music history.

The 3rd and final chapter in Cochemea's epic quest to explore and express the spiritual connection between his art and ancestry. For Vol 3: Ancestros Futuros, Cochemea entrusted his vision to a core group of longme collaborators-a powerful octet composed of New York-based percussionists and members of Daptone's famed rhythm section. Gabriel Roth (aka Bosco Mann) reprised his role as producer, recording and mixing the album live to 8-track analog tape. Cochemea continues to push the boundaries of his sound, blending past, present, and future into a ritual offering-an evolving sonic narrative where memory, survival and creativity converge.

Released by Hegoa Records and Night School Records.
Greatest Heads is the fourth album by the radical Basque- Berlinesque group Al Karpenter. A deconstruction of structured “rock” music, here Al Karpenter re-imagine “the band” to explore the intersection between Free music, afro-beat, the avant garde and gonzo rock.
If Theodore Adorno wrote “To Write Poetry after Auschwitz is Barbaric” in 1949, Al Karpenter attempts to answer the difficult question today; what kind of music can be done in the face of a genocide? Álvaro Matilla, Marta Sainz, Enrique Zaccagnini & Mattin’s response to the planet’s slipping into a vortex of hate is to create a music ecstatic, a music of protest bursting with multiple musical languages and glossaries, full of overlapping histories and thrilling tensions.
Greatest Heads posits a plurality of musics both in opposition and intertwined: Al Karpenter play rock instruments pulled apart in the studio in post-production. Distorted rhythm chunks bit-crushed and dissipated, segments of freedom oppressed by waves of sound invading from every direction. The interplay between the chief instrumentalists and renowned, storied sound artist Mattin creates something akin to ESP freedom-seekers Cro Magnon playing in Miles Davis’ early 70s groups, The Los Angeles Free Music Society tightening up into a clenched fist of plunderphonics and runaway percussion.
We Are All Karpenters opens Greatest Heads with the most straight-forward song refrain of the record accompanied by a band that soon crash into eruption, imagining Sun City Girls in full free rock mode.
The modulating synth sound soon sucks the band into its wake to create a spine-chilling climax of distorted sound, made fully orgasmic with mastering engineer Rashad Becker’s attention to detail. On Izugarrizko Buruak (Greatest Heads), Matilla intones in Basque over a mangled distorto-beat. A Brand New Astraphobia creates a black space for a heavily processed guitar to blow up before falling to earth at night, a gentle figure serenading the coming end.
On Side B, the band begins by being masticated by a brutal phaser, squelching and stretching the music into new territories. The overt message of Stop The Genocide! is besieged by violence before Worm City aggressively samples the ghosts of soul music, mixing in noise bursts, prepared piano and swiping, abstracted sound. Epic closer Perfect Love feels like a beat poetry performance on a burnt world, still grasping for community, for home, for some sort of human love. A Mad love, then; an angry love fuelled by solidarity and collaboration.
The band’s cascading layers of references and polyglottal musics attempt to create the perfect lover, alive with rage and disorientating ecstasy: Al Karpenter.

Buh Records presents "El tiempo quiere cantar" ("Time Wants to Sing") the debut album by Pacha Wakay Munan, a duo formed by Peruvian musicians and researchers Dimitri Manga Chávez and Ricardo López Alcas. This album explores the sonic possibilities of pre-Hispanic instruments in a contemporary musical context. Through their performance, they explore their tonal possibilities, the interaction between their frequencies, and their ability to generate new dialogues. The work of Pacha Wakay Munan aligns with the tradition of sound explorers such as the Peruvians Arturo Ruiz del Pozo and Luis David Aguilar or the Colombians Yaki Kandru. The album's repertoire consists of pieces that explore diverse sonorities and musical concepts. "Pacha Wakay Munanqa" introduces the timbral variety of the instruments used. "El Taki Onkoy" draws inspiration from historical accounts and the meaning of its name ("Sick Song"), based on a Culina chant documented by Rodolfo Holzmann. It features vocals by the experienced singer Ximena Menéndez. "Mundo Posible" is a reinterpretation of an improvisation session with musicologist Chalena Vásquez Rodríguez, where the piano dialogues with ceramic antaras. Other pieces delve into the sonic construction of these instruments in relation to their cultural contexts. "Machu Tara" explores the concept of tara, a rough and vibrant sound quality found in certain Andean musical traditions. "Túpac Huaca" references the Huaca Aliaga in Lima, creating a sound palette where pututos, whistling vessels, and quenas converge. "Agua, Cuarzo y Viento" introduces quartz sikus and bowls tuned to different frequencies, evoking the interaction between natural elements and resonant vibrations. In the piece "Qinray Tema", Camilo Angeles plays the metal transverse flute, creating a contrast with the pre-Hispanic ceramic flutes and pelican bone flutes.

Ali Farka Touré trekked the world, bringing his beloved Malian music to the masses. Dubbed “the African John Lee Hooker,” one could hear strong connections between the two; both employed a bluesy style of play with gritty textures that elicit calm and fury in equal measure. While the influence of Black blues music prevailed, Touré created a West African blend of 'desert blues' that garnered Grammy awards and widespread reverence. Though he transcended in 2006, Ali’s musical legacy lives on through his son, Vieux aka “the Hendrix of the Sahara,” an accomplished guitarist and champion of Malian music in his own right. On Ali, his collaborative album with Khruangbin, Vieux pays homage to his father by recreating some of his most resonant work, putting new twists on it while maintaining the original’s integrity. The result is a rightful ode to a legend. Ali isn’t just a greatest hits compilation. It’s a lullaby, a remembrance of Ali's life through known highlights and B-sides from his catalog. It is a testament to what happens when creativity is approached through open arms and open hearts. “To me, music is magic, it is spontaneous, it is the energy between people,” Vieux says. “I think Khruangbin understands this very well.” The genesis of the album dates back to 2019, when Khruangbin, coming off their breakthrough album Con Todo el Mundo, was beginning to play to bigger crowds. The record was finished in 2021, as a global pandemic shuttered businesses and forced us to take stock of what Earth was becoming. Indirectly, Ali captures this as a moment of peace within a raging storm, a conversation between past and present without allegiance to suffering. Now, given Khruangbin’s reach as a unit with legions of fans (including the likes of Jay-Z and Paul McCartney), they’re poised to bring Malian music to broader groups of listeners. Ali is a masterful work in which the love surrounding it is just as vital as the music itself, driving it to unforeseen places; Vieux and Khruangbin are spreading the good word to a completely new generation. “I hope it takes them somewhere new, or puts them in a place they haven't felt or heard,” Lee says. “It is about the love of new friendship and making something beautiful together,” Vieux continues. “It is about pouring your love into something old to make it new again. In the end and in a word it is love, that's all.”