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Selva Discos keeps broadening horizons. Its next release celebrates the start of a new series called Novaterra, this time focused on showcasing the music of contemporary Brazilian artists. First up is Zopelar, known not only for his work with the anarchic-techno-punk act Teto Preto but also for the project My Girlfriend and his solo LP, both on Apron Records.

Novaterra vol. 1 by Zopelar is a mini-LP featuring 6 tracks that range from the introversion to the extraversion. In one hand you have an A-side banger like "Be Together", with its addictive looped-sample, and in the other, you get the laidback interlude of "Modo Avião", which sounds like one of those MF Doom's instrumentals – and between both, you will find a whole spectrum of music where you can experience the duel between super crispy beats (a signature in Zopelar's work) and the richness of melodies and harmonies that he's able to knit stitch close to perfection.

The opener "Livre" has a great deep house vibe that makes you think of Prescription Records and Jazzanova, featuring a catchy bossa ad-lib. "NOX" is a Hammond-led tune with a groove bassline and lead that gets you going in no time as if Cesar Camargo Mariano and Larry Young toured together in the late 70's, like, a big, fat jazz-funk tune. "Dias Tensos" is a nervous drum workout led by an automat Tony Williams as if jamming in a 16-bit version of The Tony Williams Lifetime. And to wrap things up, "Boogie da Paz" is one of those perfect comedown tunes – a true tearjerker that works its melody line like a good pill works your serotonin, making it one of those tracks that you keep under your sleeve for those special 6 AM moments on a dancefloor.

The artwork is courtesy of Colletivo Design Studio in Sao Paulo.

What more can be said about Saint Petersburg producer Mikhail Khvasko, aka A Vision of Panorama that hasn’t been said before?
His ”Sentimental Coast’' EP continues to cultivate his unique glistening soundscape characterized by a lush jazz-tinged blissful Balearic ambience. The four original tracks here are a range of sun-drenched, unfolding narratives, full of gentle sounds and chords.

Smooth and vibe-focused ''Atlantic Dawn'' exudes sensuality-tethered vibe that is highly intoxicating. Emblazed with mysterious deep breaths and shimmering sonics that entrances the listener straight away to the whole release.

Disarmingly beautiful ''Mediterranean Tribal'' is an old school-fare downtempo jam with classic chilled out laid back Mediterranean instrumentation.

''Sentimental Coast'' is distinctly deeper and more emotive than his vintage synth-laden sounds and is one of his most fragile and still moments within a superbly arranged delicate piano solo.

On ''Vibechos'' things get more upbeat and aquatic, featuring beautiful chords and textures that float into the track with a sun-kissed vibe reminiscent of Italian dream house. “

- DJ Nova (Nova Planet Radio Show, Greece).

· This compilation features the rarest and unknown instrumental tracks of that Funky Groove early sound.
· Light music along with wind section and keyboard ready to hit the dance-floor, that we call Spanish-Grooves.
· Composers, musicians & arrangers like Gregorio García Segura, Rafael Martínez, Antonio Barco, Antonio Latorre, Jaime Botey, etc.

During the 70's, an important number of orchestras and dance bands popped up in our country but not many of them released their own songs or covers on vinyl, so we can’t say that our music library has bulky volumes, rather it’s just the opposite.

You have to dig deep in the catalogue of obscure record labels to find some quality pieces, which we will usually attribute to Tinglado 13, Conjunto Nueva Onda, The Matches, Conjunto Don Pelegrin, Rafael Martínez, Carlos de Ros, Salgado y su Grupo, Mesié Bató, Pedro González, Jorge Enrique.

Most orchestras played bossa nova, soul, some lounge and easy listening, and a usual mix of light music with wind section and keyboards, something like “spanish-soul” or “rhythm'n'blues-pasodoble”.

It was a time when the bands survived playing shows with a repertoire based, mostly, on Spanish popular songs and international hits.

Many artists recorded with nicknames, many others used licensed songs paying rights to the original authors and some orchestras changed their names when they pressed their records, in an attempt to appear modern or simply for pure commercial purposes, that's why it is difficult to trace accurately the musical path of many of these artists. This scene was especially intense in Aragon and Catalonia, where a bunch of labels emerged, often simply as platforms for bands to promote their own music.

This compilation aims to discover to a wider audience some of the most sought-after instrumental gems by discjokeys and disco music collectors, eager for soul, groove and hot sounds.

· This compilation features the rarest and unknown instrumental tracks of that Funky Groove early sound.
· Light music along with wind section and keyboard ready to hit the dance-floor, that we call Spanish-Grooves.
· Composers, musicians & arrangers like Gregorio García Segura, Rafael Martínez, Antonio Barco, Antonio Latorre, Jaime Botey, etc.

During the 70's, an important number of orchestras and dance bands popped up in our country but not many of them released their own songs or covers on vinyl, so we can’t say that our music library has bulky volumes, rather it’s just the opposite.

You have to dig deep in the catalogue of obscure record labels to find some quality pieces, which we will usually attribute to Tinglado 13, Conjunto Nueva Onda, The Matches, Conjunto Don Pelegrin, Rafael Martínez, Carlos de Ros, Salgado y su Grupo, Mesié Bató, Pedro González, Jorge Enrique. Most orchestras played bossa nova, soul, some lounge and easy listening, and a usual mix of light music with wind section and keyboards, something like “spanish-soul” or “rhythm'n'blues-pasodoble”.

It was a time when the bands survived playing shows with a repertoire based, mostly, on Spanish popular songs and international hits.

Many artists recorded with nicknames, many others used licensed songs paying rights to the original authors and some orchestras changed their names when they pressed their records, in an attempt to appear modern or simply for pure commercial purposes, that's why it is difficult to trace accurately the musical path of many of these artists. This scene was especially intense in Aragon and Catalonia, where a bunch of labels emerged, often simply as platforms for bands to promote their own music.

This compilation aims to discover to a wider audience some of the most sought-after instrumental gems by discjokeys and disco music collectors, eager for soul, groove and hot sounds.

WRWTFWW Records is insanely happy to announce the first ever vinyl reissue for both volumes of Yoshio Ojima's superb environmental music project Une Collection des Chaînons I and II: Music For Spiral, originally released in 1988 on CD only. Each volume is sourced from original masters and comes as a double vinyl LP with liner notes in English and Japanese . This marks the inaugural release from the ESPLANADE SERIES by WRWTFWW Records which focuses on the works of Yoshio Ojima and friends.

Une Collection des Chaînons II (along with its complementary predecessor Une Collection des Chaînons I) gathers selected music pieces conceptualized and produced for sound-designing the Wacoal Art Center in Aoyama (Tokyo) also known as Spiral, a hub for a wide range of sophisticated cultural proposals spanning visual arts, theatre, music, design, fashion, and lifestyle.

Named after its superb curled-shaped structures laid in a vast atrium, Spiral is a monumental work of architecture by Fumihiko Maki, designed according to the principles of Metabolism, a movement advocating the fusion of the notions of megastructures and organic biological growth - in essence, evolving designs and constructions, adapting to human needs naturally.

Evolving, organic, adapting, these are notions that perfectly describe Yoshio Ojima's divinely designed brand of environmental music. Continuing, embellishing and bringing the Collection des Chaînons (which translates as collection of links) full circle, this second volume approaches sound design in relation to various contexts, sizes, and shapes. The nanoscopic neoclassical lullaby "Les Trois Grâces" brings attention to the importance of small details, "Pulse at Soothe" starts with the minimalism of a Satoshi Ashikawa piece and slowly drifts into mystical landscapes and cavernous echoes, "Entomology" and its melancholic artificial forest feels like a Twin Peaks mirage, and "Atrium" literally feels like a floating visit of a gigantic open space structure. With each timbre selected with extreme precision, each element placed in space with the utmost care, and textures worked to allow a wide canvas of emotion for the listeners, Yoshio Ojima's music is the constantly transforming connecting point between humanity and architecture.

Sitting alongside Midori Takada's Through The Looking Glass, Satoshi Ashikawa's Still Way, Hiroshi Yoshimura's Green, or Yutaka Hirose's NOVA, Une Collection des Chaînons is a pivotal work of Japanese environnmental/ambient/minimalist music.

A note from Yoshio Ojima: "Please listen to this album at around the same volume as daily life sounds such as air conditioners and refrigerators."

The Brazilian singer-songwriter and guitarist Joyce Silveira Moreno was born and raised in the middle of Copacabana, a short beach stroll from the epicentre of the bossa nova universe.
Her father was a Dane that had settled in Brazil, but she was raised by her mother and step-father in a typical Portuguese-Brazilian household. Since her older brother was friendly with
leading lights of the bossa nova movement such as Roberto Menescal and Eumir Deodato, she was steeped in the form at an early age and witnessed its key evolution first-hand. At the
age of 16 in 1964, she was taken to the studio by Menescal to contribute to the coveted debut album by the mythical group Sambacana, assembled to record the work of composer Pacífico
Mascarenhas when the meagre budget would not allow the vocalists he preferred. Knowing that a full-time career in music was certainly not guaranteed, she began studying journalism
in 1967, shortly before her controversial song “Me Disseram” reached the finals of Rio’s second International Song Competition. The following year, her self-titled debut album was
released by Philips, produced by Armando Pittigliani, with orchestration by Dorival Caymmi and arrangements by Gaya; along with her own compositions, the album also featured songs
by her rising-star friends, including Caetano Veloso and Marcos Valle.

Midnight Sun drew his imagination from trips to Iceland and elsewhere, from experiences. Everything has grown, some dates in New York for the CMJ Festival, Berlin, Barcelona or Warsaw, the Pitchfork Festival, Radio Nova, vinyl, meetings.

"Early Morning" extends this first EP and dreams of traveling at the end of the world.

The group is apart, it wanders while preserving its identity - the spirit of Cracki hovers over the project.
First discovery of the label in 2012, the duo barely existed, it is a quator today who just returned from a world tour (more than 100 dates).

The dream sticks to their skin, in fact. Just as when trying to catch one, it flies away, their music is elusive. The first disc spoke of a sun at midnight, the second is dawn.

The chosen horizon is not defined, the four artists are still searching for each other and continue their path with candor.

The dystopian reality is here but as humans possess enormous power to destroy, we are still subordinated to the greater powers of nature and material world. Desastere depicts the fragility of human experience when compared to space. The A side gives the sensation of inveitable and slow, intimidating superclusters with it's opener Mare Nostrum, and on side A2 - Supernova track that decelerate into hard-kicking loops. The B side is making an introduction to the final cut that will happen with the Cap on side 1 and B2 The Dune - which finalise the encounter in their off-beat and industrial manner.

Artist Biography:
Franck Vigroux's music is made of tectonic tensions, beats, electronic textures and a very personal approach to sonic exploration. He has performed and recorded with musicians such as Mika Vainio, Reinhold Friedl, Elliott Sharp, Zeena Parkins, or Ars nova ensemble instrumental. Vigroux's uniqueness comes from his artistic approach that integrates new media and performing arts. He designs transdisciplinary shows and audiovisual concerts, collaborating with visual artists such as Antoine Schmitt and Kurt d'Haeseleer. Vigroux's records have been published on many labels worldwide such as DAC Records, Leaf, Cosmo Rhythmatic, Monotype, Radio France, Erototox.

Felix has been working his Studio hard this past summer and caned out a whole bunch of awesomeness! We are more than pleased to welcome him back on Dirt Crew this year after his excellent new EP on 'Bobby Donny' and the 'Buster' jam for our 'Deep Love 2018' compilation. The A-side starts off with 'Between US', a cool, pump-y and jazzy track with a hypnotic tribal bongo rhythm that winds up in that typical Leifur swirl. Followed by the super deep 'Hamburg 3011' that flicks an off-beat mash up of soul, guitar samples and funk hi-hat vs snare groove that is just irresistible dance floor goodness, we can't wait to drop this on a massive sound system. Over to the musical world of that B-side! What can we say, Felix changed his style quite a lot here and delivers some bang on Electro with 'Pinot Noir 1985' that just bounces in yer face with a dope ass beat keeping those typical Leifur flavors alive with a warped piano loop and delayed vocal snips. Second is the almost garage-y tune 'Modern Soul Classics' with massive subs underlaying the 'Rhodes' and drum cut ups, moody and deep in his signature style. The closing track is a real Icelandic Bossa Nova affair! Silky 'n smooth again he works that piano loop towards eternity, we love this piece a lot! Reminding us of past 90s electronica by the likes of 'Sabres of Paradise' or 'Nightmares on Wax'. The best ending to this EP we could have hoped for! Enjoy this varied 'n eclectic EP by our Icelandic talent Felix Leifur and make your Autumn a hot one by dropping these jams on the floor!

With FBNM now celebrating their fifth year of operation, Lorenzo has marked the occasion by assembling his biggest project to date - an impeccably curated collection of obscure Italian production music circa 1974 - 1985. The project, nearly a year in the making, has been very close to Lorenzo's heart - beginning unexpectedly in the record fairs of Buenos Aires and leading him on several trips to Rome and Milan, tracking down the original musicians and licensors.

"In this compilation, I have tried to include some of the most interesting cuts I have collected over the years. Tracks like the entirely electronic "Nitrogen" from Alberto Baldan Bembo's "Sound Orchestra" LP on Star Track Records, featuring a wild evolving bassline leading us through frantic rhythmic experimentations. "In the Space", by French born composer Albert Verrecchia and taken from Italian poliziesco drama 'Il Tempo Degli Assasini' (Season for Assasins), tells the tale of wistful longing, played out with serenity on strings and keys, but unexpected interruption from its stop-start arrangement brings an unforeseen tension into the mix... And how could I not include the wonderfully charming "Screw Driver" by Fabio Fabor, from his collaborative album "Superman" with a young Antonio Arena. Featuring an orchestra of beautifully programmed ARP and Oberheim sonorities alongside the Commodore 64 programmed graphical artwork by Antonio Arena himself."

The music itself was partly sourced from Lorenzo's own collection, archived and then restored especially for this release. Where possible, tracks (such as "Vision", "Nitrogen" and "Blue Magnolia") have been lifted directly from the original master tapes kindly lent by the repertoire owners. Every track, however, has been carefully restored, remastered and cut for vinyl by the cautious hands of Andreas (LUPO) Lubich at Calyx Mastering, Berlin.