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Search Result for Genre WORLD
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LP
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NADA 004LP
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$27.00
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RELEASE DATE: 1/28/2022
Reissued for the first time, Fragmentos da Casa by Brazilian percussionist Marco Bosco was originally released in 1986 by Carmo, owned by Egberto Gismonti. Carmo also released albums by Gismonti, Piry Reis, Fernando Falcão, Nando Carneiro and André Geraissati, among others. In 1986, Marco Bosco's percussive arsenal was unique and extremely peculiar, containing chizanzhi, caxixis, purrinhola, requo-requo, shequeres, berimbaus and lingo drum, among other instruments. This fusion of acoustic and synthetic, promoted by some Brazilian artists in the '80s and celebrated worldwide, still brings memories to the percussionist. For him, the arrival of those electronic gadgets "was the best thing that happened on the planet." This reissue includes a reproduction of the original artwork, new testimonies by Marco Bosco and a long article signed by Bento Araujo, author of the series of books Lindo Sonho Delirante, which investigates audacious and fearless music produced in the Brazilian underground. The track "Sol da Manhã" was included in Outro Tempo (Electronic and Contemporary Music from Brazil 1978-1992), compilation by DJ John Gomez released by Dutch label Music From Memory.
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CREP 089LP
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$25.50
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RELEASE DATE: 1/21/2022
Third time's a charm. Or a chant in this case. Antologia De Música Atípica Portuguesa is back. Following two sold-out volumes, the unplanned trilogy comes to a close with chants and hymns whilst continuing to merge music genres and presenting them as a world building concept. If the first two volumes were dedicated to work (O Trabalho (CREP 035LP)) and regions (Regiões), it only made sense to close the trilogy with ceremonial music, connecting the real -- each musicians' creation -- with a fantasied celebration of Portuguese folk, traditions, and ghost methods within these unusual anthems. If you've listened to Niagara before, you probably felt this whole ceremonial thing going on. A perfect opener then, for this volume with Niagara's deep dive into proto religious-ambient music with "Paulo, Apolo e Pedro". It sets the tone for the next 35-minutes of ethereal like songs. Either you listen to musicians working within their natural habitat (João Pais Filipe or Filipe Felizardo) or feel them exploring new areas in their realm (Niagara, Joana Guerra or Serpente), this third volume manages to combine eight of the best underrated visionaries working in current day Portugal. In the past, Antologia da Música Atípica Portuguesa created an imaginary folktale where current day creations could live with the idea of archive or fake-folk. This volume forgets the world building and actually lives in it. Because this is the real Portugal. This is Portugal's folk. These are Portugal's chants. Embrace the otherworldly. Also features Jibóia and Folclore Impressionista.
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LP
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FD 017LP
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$28.50
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RELEASE DATE: 1/21/2022
Fatiado Discos and Psico BR Discos present a reissue of Solange Borges's Bom Dia Universo, originally released in 1984. Solange Borges is a singer, composer, and instrumentalist, born May 1st, 1954, in Belo Horizonte, Minas Gerais state, Brazil. Member of the family of musicians "Borges", Solange started playing guitar and piano and got to know the poetic universe with her brothers Marilton, Márcio and Lô Borges. The Borges family was an essential landmark for developing music and including other musician friends in the sixties that would initiate the so-called "Clube da Esquina" movement, that would represent several musicians and records. With figures such as Milton Nascimento, Toninho Horta, Wagner Tiso, Lô Borges, Beto Guedes, and Márcio Borges, Clube da Esquina's sound is intensely characterized as innovative. As a characteristic of this innovative sound, there is, for example, a kind of fusion of the innovations brought by bossa nova with elements of jazz, rock -- mainly the Beatles --, black folk music and Minas Gerais, classical music and Hispanic music. In the '70s, these artists became a quality reference in MPB for their high level of performance and spread their innovations and influence worldwide. Solange Borges is the only female musician member of the collective group "Clube da Esquina" and participated in the album Os Borges in 1980, also in the album Via Láctea, by brother Lô Borges, singing the songs "Vento de Maio" and "Clube da Esquina 2", having released her first LP Bom Dia Universo in 1984. "Bom Dia Universo" is the opening track that names the album, a great sweet sunny song that inspires looking at the beauty of the universe, like portraited on the album cover. "Santa Teresa" song remembers the times when her whole family including other musicians' friends from "Clube da Esquina", shared their home in the iconic neighborhood of Santa Teresa in Belo Horizonte, Minas Gerais state, known as cultural landmark. "Águas de Rios", "Puim-í" and "Beija-Flor" are gems of Brazilian regional and psychedelic music, with beautiful hippie and nature themes, and harmonies that sound just as great as if you were listening to a female version of Clube da Esquina albums. Bom Dia Universo album songs also range from rock to progressive rock, were as Solange Borges group shows it´s instrumental and composition abilities of Nico, Telo and Yê Borges, Tito Andrade, Ronaldo Venturini, Fernando Moura, Marcelo Sarkis, Silvio Nélio and Gerdson Mourão, also responsible for music direction. Contains the original 1984 insert with lyrics plus photos from her personal archives.
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LP
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VAMPI 222LP
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$25.00
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RELEASE DATE: 1/14/2022
First time reissue. This album comprises hits from the repertoire of the most famous Cuban and Boriquen orchestras in the late '50s, performed by young Peruvian percussionist Ñiko Estrada and his sonora. However, due to contractual restrictions, the album was released under the fictitious Sonora MAG name. Fascinated by the music of the Cuban orchestras broadcast on the radio and the colorful and flamboyant outfits they sported when played Lima, Ñiko Estrada named his first band Los chicos de Cuba (The Cuban Boys). In 1958 he put together his own group, sonora, signing to the local label Smith and recording a number of hits. At the same time, he also agreed to anonymously record more music for MAG, the Peruvian company owned by Manuel Guerrero. An imaginary Sonora MAG was born, El Negro Bembón con la Sonora MAG includes, with the only exception of the instrumental track "Té Para Dos", mostly vocal songs -- guarachas and boleros -- by the likes of Manolo Castro, Rafael "Chivirico" Dávila, and Vicky Zamora, being her take on "Pepito" the biggest hit of the album. This album is currently almost impossible to find in its original edition, so Vampisoul present the first ever reissue of El Negro Bembón con la Sonora MAG in its original artwork. 180 gram vinyl.
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7"
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VAMPI 45085EP
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$12.50
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RELEASE DATE: 12/17/2021
"Dedos" became a true classic from the right moment of its publication, in 1971, as part of Totem's first album, the Uruguayan band where Rubén Rada and Eduardo Useta, authors of the song, would be part of. It was later popularized all over the world thanks to its inclusion in Airto Moreira's renown album Fingers. Vampisoul present here two monumental and mega rare versions with loads of head-nodding funky beats, drum breaks, jazzy arrangements... Dancefloor action guaranteed! Side A is taken from Chilean band Fusión's mega rare only LP (1975), an irresistible funk-jazz that screams to be used by a hip-hop producer, while side B features Argentine Carlos Franzetti, of the "Cocoa Funk" fame, creating a jazz-funk delight packed with delicate Rhodes solos, fuzzy guitars and drum breaks that were released only in Argentina at the time. A preview of what he would shortly after record on his classic album Graffiti (1977).
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XRP 1403CD
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$17.50
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RELEASE DATE: 12/17/2021
Nightbird is the third album, released in 2015, from Biga Ranx, one of the most iconic artists of the international dub scene. Features Hollie Cook, Prendy, U Roy, U Brown, Big Youth, and Joseph Cotton.
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2LP
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BMG 69817LP
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$40.00
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RELEASE DATE: 12/17/2021
Gold vinyl. "Trojan Jamaica/BMG is proud to announce the release of U-Roy's final full-length, Solid Gold U-Roy. The album was originally set to come out in 2020 with plans for a worldwide tour in support, but unfortunately, the pandemic delayed the release. Now, with the heartbreaking loss of U-Roy on February 17, the album has become a celebration of one of the most profoundly influential reggae stars of his generation. An originator of the chatty rhythmic vocal style known as toasting -- a key foundational element in the development of rap in its nascent stages in the 1970s -- U-ROY left behind an unmatched legacy which is clearly on display on Solid Gold U-Roy, with its guest appearances including Ziggy Marley, Shaggy, Mick Jones of The Clash, Santigold, Sly & Robbie, David Hinds of Steel Pulse, and more."
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2LP
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XRP 1506LP
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$37.50
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RELEASE DATE: 12/17/2021
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LP
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HONEY 041LP
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$21.50
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RELEASE DATE: 12/10/2021
Honey Pie Records present a reissue of Joe Cuba Sextette's Steppin' Out, originally released in 1963. Joe Cuba, New York's Latin music icon, "the King of Latin Boogaloo" is considered a pioneer in the so-called Nuyorican culture. Originally released in 1963, this is a highly infectious mix of dance numbers and love songs based on a wide range of percussive instruments, timbales, congas, bass, piano, vibes, and lots of hand percussion. If you feel ready to move your feet in various exotic energizing styles like mambo, pachanga, and cha cha cha, this is the right album for you.
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LP
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VAMPI 244LP
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$25.00
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RELEASE DATE: 12/10/2021
First time reissue, originally released in 1968. Cuban and Colombian rhythms form Tropical Guitars (MAG, 1968), the first LP of the Silvestre Montez y sus Guantanameros orchestra, a group whose conductor and members, despite their name, have no direct relationship with any Caribbean country, and whose conception illustrates the particular way in which the Peruvian record company MAG was managed. Manuel Antonio Guerrero (founder and owner of MAG) made significant profits with the first albums published, mostly focused on música criolla. He soon encouraged his friend Lucho Macedo, director of Lima's favorite sonora, to record the main hits of Sonora Matancera, reinterpretations with innovative arrangements that exceeded market demands. Thus, they continued to repeat the formula of releasing songs "in the style of", and soon they published hits of tango, cuplé, pasodobles, Ecuadorian, Argentine and Paraguayan music, reinterpreted by local musicians. Tropical music records were always the label's favorites, especially because Guerrero knew Cuban music well due to his visits to the island when he was young. In addition, the record company had an in-house orchestra, called MAG All Stars, always ready to experiment and improvise on new recordings. Stars such as Joe di Roma, Coco Lagos, Mario Allison, and Pablo Villanueva "Melcochita", among others, were at some point part of this orchestra, which had different line-ups, who accompanied, with the same skills, singers of new wave, huayno, rock, boleros or international music, covering songs that, on many occasions, Mr. Guerrero himself suggested, arranged, composed or directly participated joining the choirs or playing the maracas. This album was released, without crediting the participant musicians, consisting mostly of songs that had already known fame with other groups such as Los Destellos, Pedro Miguel y Sus Maracaibos or Melcochita y Su Conjunto. The Guantanameros were truly an ephemeral formation off the MAG All Stars, and nobody knows who Silvestre Montez was. There is only one clue: he shared the same name as that of Manuel Antonio Guerrero Silvestre. This LP by Silvestre Montez y sus Guantanameros comprises seven guarachas and five cumbias, whose recording sessions took place between June and October 1968. Although the identity of all its musicians remains unconfirmed, the tapes indicate that the multiskilled artist Pablo Villanueva "Melcochita" performs as vocalist, Coco Lagos on percussion and Rafael Ríos, from the Los Guajiros group, on guitar.
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LP
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SR 519LP
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$16.00
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RELEASE DATE: 12/10/2021
Maurice Louca is one of the most gifted musicians and composers on Egypt's thriving underground music scene. This forthcoming full-length album draws voraciously on Arabic music, psychedelic folk. The title Saet El-Hazz is a coded saying in Egypt to refer to a good time and usually implies a great deal of debauchery. "When you mention to someone that you've had a saet hazz, there are no questions asked. It is what it is." The initial spark for Saet El-Hazz (The Luck Hour) was Louca's desire to collaborate with "A" Trio, the Lebanese improvisational group featuring Mazen Kerbaj on prepared trumpet, Sharif Sehnaoui on prepared guitar, and Raed Yassin on prepared double bass. "When the three of them come together they create a sonic cosmos entirely their own. I started by composing music that I wanted to have exist within this sonic world- at times in harmony, or clashing with it, and all the emotional ranges in between." Just as "A" Trio served as the spark, a commission from Mophradat, an arts organization based out of Brussels, was the tinder. The commission was for a new composition to be performed using instruments that Louca would modify to play microtonally. This led him to Turkey and Indonesia. In Istanbul, he worked with a luthier to custom-make a guitar. In Surakarta, he ended up with an instrument maker tuning a Serang-referred to as the Indonesian xylophone, part of the family of Gamelan tuned percussion instruments. These new modified instruments opened up the composition to new tonal possibilities which drove Louca to expand his line up to include Khaled Yassine, a longtime collaborator and versatile percussionist and drummer, Christine Kazaryan, a dynamic harpist whom he met via Praed Orchestra, and Anthea Caddy, a cellist who came highly recommended from the Berlin free improv scene. Saet El-Hazz (The Luck Hour) is a long form composition of six movements, recorded over the course of a week in August 2019 at A/B studios in Brussels. RIYL: Sun City Girls, Tortoise, Nadah El Shazly, Amirtha Kidambi, Don Cherry, Jaubi, Pharoah Sanders, Sunil Ganguly. Marbled vinyl with insert.
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LP
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LN 028LP
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$25.50
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RELEASE DATE: 12/3/2021
LP version. Includes bonus track, "Mare A Mare (Sequenza Slow Version)". "Musical love at first sight" is one way to describe the genesis of the duo formed by Chloé and Bulgarian percussionist Vassilena Serafimova. An impromptu meeting that has since turned into a lasting collaboration, culminating in the release of their first joint album this fall after four years of on-stage and in-studio complicity. Chloé and Vassilena Serafimova met in 2017, through Sourdoreille -- a cooperative of journalists and videographers who share a love of contemporary music -- who invited them to take part in their electro-acoustic live series Variations. After an artist's residency at Xavier Veilhan's Studio Venezia during the Venice Biennale, they decided to extend the experience and continue facilitating a dialogue between the marimba's suave tones and the effervescence of machines. Their first album together, Sequenza, is the fruit of a harmonious collision between two worlds that usually remain at a distance from each other: that of electronic music, generally associated with the chiaroscuro of clubs, and of art music, which usually basks in the light of prestigious concert halls. But while mixing genres is often a perilous exercise, in this case it makes for one potent cocktail -- one that is as airy as it is melodious. This musical fusion, fed by numerous back-and-forths between studio and stage, results in sunny compositions, which borrow as much from the creative intuition that they deploy on stage as from the individual visions they instill into each of the pieces. Their pieces are built layer by layer, sequence by sequence, in a continuous creative feedback loop between their two practices. In fact, Sequenza is permeated by a dreamlike atmosphere that envelops listeners, guiding them through contrasting soundscapes: one wanders from contemplative tracks ("Studio Venezia", "52 Hertz") to dance eruptions ("Balani"), from energetic outbursts to intimate retreats. Incandescent from the first listen, the album reveals to the attentive ear a multitude of details: on "Driveaway", the acoustics of the marimba are altered with strips of fabric, while on "Dvé Hubavi Otchi", Vassilena's voice is treated as a tangible sound material, sculpted into an inviting vessel by Chloé's effects and loops. The creative exploration seems infinite, as both artists dynamically transform their pieces with each interpretation. So much so that they take the opportunity to revisit their respective repertoires, as with "Mare a Mare", a synthesized transfiguration of a Serafimova composition by the electronic producer, and on "The Dawn", a reinterpretation of a key Chloé track by the marimba player. The two artists lead you into their ever-expanding electro-acoustic universe, full of seductive promises and inexhaustible possibilities.
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LP
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DAYD 002LP
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$29.00
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RELEASE DATE: 12/3/2021
Legendary Brazilian group Orquestra Afro-Brasileira are reborn for first new album in over fifty years, produced by Beastie Boys collaborator Mario Caldato Jr. Led by maverick composer Abigail Moura, Orquestra Afro-Brasileira were one of the most influential yet overlooked groups in Brazilian music history. Operating for almost thirty years until 1970, they released just two albums -- the first of which, Obaluayê, has recently been reissued by Day Dreamer Records -- and left behind a legacy of Afro-Brazilian consciousness that continues to resonate today. Combining Yoruba spirituality, folk tales, Candomblé chants and West African percussion with the instrumentation of the big band jazz tradition in the United States, the Orquestra placed Afro-Brazilian heritage in a new and vital context. Weaving emancipatory narratives into complex poly-rhythms and powerful, syncopated horn lines, the group educated and enlightened all those who saw them perform. For Abigail's protégé and percussionist on the group's 1968 album Carlos Negreiros, the message of the group's music had a profound impact: "I became aware of what it is to be black," he says, "discovering the extraordinary potential of the Afro-Brazilian culture in the making of the national ethos." Now the last remaining member of the original Orquestra, Carlos was tracked down by producer Mario Caldato Jr. to oversee the first new album of Orquestra Afro-Brasileira material since 1968. "I was overwhelmed with the percussive rhythms, beautiful deep vocals and combined energy," Caldato Jr. explains. "It felt like the most authentic Brazilian roots music I had ever heard. It was raw and dynamic, a pure organic sound and energy." Alongside arranger Caio Cezar, Carlos assembled his Orquestra to record five tracks at Berna Ceppas' Estudio Maravilha 8 studio in Rio De Janeiro. With percussion, horns and vocals cut in single takes over three days, the session captured the intuitive, pure and natural spirit of the group in full flow. Following the success of the initial session, five additional tracks were recorded at the iconic Estudio CIA dos Tecnicos in Copacabana to complete the album. 80 Anos is a contemporary incarnation of Abigail Moura's vision, bristling with the flair of the original recordings. "This is an important continuation of the Orquestra Afro Brasileira sound and movement that is still strong and relevant today," Caldato Jr. says. 180 gram vinyl.
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LP
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GB 116LP
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$24.00
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RELEASE DATE: 12/3/2021
Glitterbeat Records reissue the out-of-print debut album from Brazil's ten-piece instrumental powerhouse: Bixiga 70. Originally released a decade ago, the self-titled record is the bold mission statement for the acclaimed albums that followed. Urgent and uncompromising. An inspired soundworld where Afro-Brazilian traditions and retro and contemporary sonics seamlessly meld together. Bixiga 70, the ten-piece horn driven instrumental group from São Paulo, have in the last ten years firmly established themselves as one of the most acclaimed and influential exponents of contemporary Afro-Brazilian sounds. Guitarist Cristiano Scabello says that the recording of the debut album, "was the beginning of a long and happy story in which we spent a lot of sweat, hours of rehearsal, dedication, research and study." Keyboardist and guitarist Maurício Fleury feels that the album's raw but optimistic vibe is possibly even more pertinent today: "we could feel that we were doing something that felt important then and we tried to come up with a Brazilian answer to what we were listening to from abroad. I think that listening to this album nowadays can bring some of that hope that we shared at that time, shedding some light on the dark times we are going through." Named after the cultural melting-pot of their home base in São Paulo's Bixiga neighborhood, with a tip of their hats to the inspiration of Fela Kuti's Afrika 70 band, Bixiga 70 came together from diverse musical backgrounds and from their inception operated as a collective, sharing the songwriting duties and the running of their recording studio. In fact, the band's embryonic musical endeavors began at their Traquitana studio on 70 Treze de Maio street (one of Bixiga's busiest nightlife areas). It was from those energized recording sessions that the first album was born, sessions where the band passionately explored elements of Brazilian, Latin and African music to create inspired, dance-floor shaking instrumental themes and anthems. Considered by many to be the birthplace of samba music in São Paulo, the vibrant Bixiga neighborhood fed their collective imaginations as the band created their own individual and surehanded take on the '70s cosmopolitan music of Ghana and Nigeria, the rhythms of African-Brazilian religious terreiros, hip-hop, space jazz, malinkê, cumbia, carimbó and blaxploitation soundtracks. From the very first album the band created a compelling mélange that almost immediately propelled Bixiga 70 to the forefront of Brazil's contemporary instrumental music scene -- a place where they have remained ever since. The band's self-titled debut is anything but the typical first album. It is in its own way, every bit as accomplished as the records that followed. It is the watershed. A deep and unforgettable first cut. Gatefold sleeve.
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NOM 20212CD
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$15.50
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RELEASE DATE: 11/26/2021
Feel the South African spirit through Nomfusi's music and her personal township stories. Delicious Tunes Records announce the new album by South African singer songwriter Nomfusi: The Red Stoep. Melodic Maskandi guitars, combined with big brass arrangements and groovy South African township rhythms are taking you deep into downtown Johannesburg. The colorful array of genres on the album includes also soulful ballads with a hint of gospel, and several jazzy, danceable Afropop songs. With The Red Stoep Nomfusi returns to her South African roots and presents a mature side of her musical journey. Driven by the deep desire to tell her personal township story of growing up in her mother's tiny shack in KwaZakhele, the album takes listeners on a walk through her childhood memories -- everyday stories of township life influenced by her mother's spirituality as a "Sangoma" (a traditional healer), and the harsh reality of single-motherhood in the Eastern Cape province. Social injustices and gender-based violence against women are important issues for Nomfusi, and she explores them in stark detail on songs like "Nomanhamle". Through her musical activism, Nomfusi aims to raise global awareness for better protection of vulnerable populations. Musically, the album speaks through melodic Maskandi guitars combined with big brass arrangements and groovy South African township rhythms. The colorful array of genres on the album includes soulful ballads with a hint of gospel, and several jazzy, danceable Afropop songs. The album's title alludes to the patio-like steps in front of Nomfusi's mother's shack; a place where one could sit down in the warm sun, have casual talks with friends and neighbors, and observe the vibrant life of the township. The "red stoep" stands for a "welcoming entrance". With The Red Stoep, Nomfusi invites everyone to experience the stories of her African heritage through the music. Performed by: Nomfusi Ngonyama (lead vocals), Mark Williams (lead guitar), Khola Phalatse (bass), Lungile Maduna (drums), Sanilde Mgcina (keys), Nomhle Nongogo (backings), Kenny Mtyida (backings).
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CD
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BJR 073CD
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$18.00
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RELEASE DATE: 11/26/2021
Founded in 2006 by Vincent Bertholet (Hyperculte), the Orchestre Tout Puissant Marcel Duchamp is a large-scale project. Designed as a real orchestra, the size of the ensemble has varied over time. Now with 12 members, 14 in the past or six at the beginning, the ensemble has scoured the stages of Europe to demonstrate that the formula "the more the merrier" has never been more true than on stage. Whether in prestigious festivals (Paléo Festival de Nyon, Fusion Festival, Incubate, Womad, Bad Bonn Kilbi, Jazz à la Vilette) or on the four albums released since its launch, the group shows an incredible fluidity. The Orchestre Tout Puissant Marcel Duchamp (a mischievous title in homage to traditional African groups -- Orchestre Tout Puissant Konono n°1, Orchestre Tout Puissant Polyrytmo etc... -- and to one of the greatest dynamizers of 20th century art) embraces the forms of its musicians while pushing them to their limits. The result is a powerful, experimental, unstable and terribly alive, organic sound. These characteristics can be found on We're OK. But We're Lost Anyway., fifth opus of the band. Built around twelve musicians, extirpated from their respective biotope, it develops a repetitive musicality which, deployed in successive waves, creates a feeling of trance. Mixing free jazz, post punk, high life, brass band, symphonic mixtures and kraut rock, their sound only goes beyond the limits of genre. Transcendental, almost ritualistic, the music is coupled with powerful lyrics, declaimed in rage against a world that is falling apart. Adorcist, hypnotic and post-syncratic, the Orchestre Tout Puissant Marcel Duchamp, far from Tzara's manifesto, is somewhere between Hugo Ball's phonetic psalms, a Sufi procession that turns into a brawl and a voodoo ritual, but always with a precision proper to the monomania of an Asperger.
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2LP
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SF 119LP
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$27.50
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RELEASE DATE: 11/26/2021
Double LP version. Tip-on gatefold jacket. Sublime Frequencies finally unleashes its essential compilation from 1970s Egypt, produced and compiled by Hisham Mayet. Modal instrumental tracks from Baligh Hamdi -- one of the most important Arabic composers of the 20th Century (writing for legends Umm Kalthum, Abdel Halim Hafez, Sabah, Warda, and many others). Features his legendary group the Diamond Orchestra with Omar Khorshid on guitar, Magdi al-Husseini on organ, Samir Sourour on saxophone, and Faruq Salama on accordion. All of these musicians were discovered and recruited by Hamdi to interpret his vision of a modernized, hybrid Arabic music. Under Hamdi's direction, this orchestra charted a new melodic direction and created a new musical language. This compilation is culled from a specific era of Hamdi's long career, a decade where he fully realized an international music which incorporated beat driven Eastern-tinged jazz, theremin draped orchestral noir, tracks that feature searing guitar solos from none other than Omar Khorshid, and a selection of buzzing, sitar driven, Indo-Arabic tracks establishing a meeting of mid-east and eastern psychedelic exotica, and a vision that created some of the hippest music coming out of the Middle East from the late 1960s and throughout the 1970s. Includes extensive liner notes by Hisham Mayet with rare photographs.
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LP
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ELPALMAS 015LP
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$34.00
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RELEASE DATE: 11/26/2021
Venezuelan aggressive guaguanco originally released in 1967 and reissued for the very first time. Frank y Sus Inquietos is a little-commented Venezuelan treasure in our time, an amazing, almost unknown jewel of Venezuelan hard salsa, treasured with zeal by music lovers of all times. This group is evidence of the musical communion of the young Caracas of the late '60s with the sounds of the Caribbean in their nascent marriage with urban aggressiveness. As a result of these meetings of "friends who played instruments" such as congas, bongos, piano, timbales and their fiery discharges on the top floor of Block 3 of La Silsa, a building located in this humble and highly populated Caracas popular area, the repertoire of songs by the homonym Frank y Sus Inquietos (1969), with an exquisite imagination and brimming with vitality, authentic vocals and choirs, overwhelming percussion, strong bass and fierce piano conducted by Frank González.
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LP
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BJR 070LP
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$27.50
PREORDER
RELEASE DATE: 11/26/2021
Paz En La Tierra is a result of a search by the Meridian Brothers & Conjunto Media Luna of the heart of something that can be called a "power format" of Colombian Caribbean music; accordion, guacharaca, caja, congas, electric bass, and vocals. Departing from this idea, and casually working with the music of a documentary on the famous singer Diomedes Diaz, Iván Medellín (accordionist of Conjunto Media Luna), and Eblis Álvarez from the Meridian Brothers, embarked on a new work building a sound exclusively on the traditional format, searching for several spaces between the lines in the universe of accordion in Colombian music. The duo departed from the basic: the line of Vallenato, the most famous in the country but not the only one, the line of Sabanero music more of the lands of Sucre and Córdoba inclined towards Cumbia, Bullerengue, son Vallenato among other airs fed the group's ideas. The Barranquilla center deserves a separate mention, due to its cosmopolitan approach, using all kinds of influences, from the Caribbean islands to ancient rhythms or even modern rock and funk, also used as an inspiration for this record. In the process, new ways of melody appeared and new ways of expression emerged. Although the rhythms used in the record are rooted in the traditional, the duo glitched those rhythms turning them into new directions in the style, using exclusively the past references to transmute the sound into something that looks inside a parallel future. Using several theatrical situations, alterations in musical structures, and slight deformations of the traditional harmony (a tonal center and its dominant) the result of Paz En La Tierra is enigmatic and charming, and at the same time directed towards the dance floor keeping the past alive and flourishing the essence of the tradition.
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LP
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BJR 073LP
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$27.50
PREORDER
RELEASE DATE: 11/26/2021
LP version. Founded in 2006 by Vincent Bertholet (Hyperculte), the Orchestre Tout Puissant Marcel Duchamp is a large-scale project. Designed as a real orchestra, the size of the ensemble has varied over time. Now with 12 members, 14 in the past or six at the beginning, the ensemble has scoured the stages of Europe to demonstrate that the formula "the more the merrier" has never been more true than on stage. Whether in prestigious festivals (Paléo Festival de Nyon, Fusion Festival, Incubate, Womad, Bad Bonn Kilbi, Jazz à la Vilette) or on the four albums released since its launch, the group shows an incredible fluidity. The Orchestre Tout Puissant Marcel Duchamp (a mischievous title in homage to traditional African groups -- Orchestre Tout Puissant Konono n°1, Orchestre Tout Puissant Polyrytmo etc... -- and to one of the greatest dynamizers of 20th century art) embraces the forms of its musicians while pushing them to their limits. The result is a powerful, experimental, unstable and terribly alive, organic sound. These characteristics can be found on We're OK. But We're Lost Anyway., fifth opus of the band. Built around twelve musicians, extirpated from their respective biotope, it develops a repetitive musicality which, deployed in successive waves, creates a feeling of trance. Mixing free jazz, post punk, high life, brass band, symphonic mixtures and kraut rock, their sound only goes beyond the limits of genre. Transcendental, almost ritualistic, the music is coupled with powerful lyrics, declaimed in rage against a world that is falling apart. Adorcist, hypnotic and post-syncratic, the Orchestre Tout Puissant Marcel Duchamp, far from Tzara's manifesto, is somewhere between Hugo Ball's phonetic psalms, a Sufi procession that turns into a brawl and a voodoo ritual, but always with a precision proper to the monomania of an Asperger.
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HC 072LP
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$28.50
PREORDER
RELEASE DATE: 11/26/2021
A classic and essential hi-life and Afro-funk album from one of the greatest Ghanaian singer and composer, reissued for the first time. The legendary K. Fimpong's fantastic rare album was recorded in 1980. K. Frimpong was born on July 22nd, 1939 at Ofoase in the Ashanti Akim district and entered right into music after elementary school by joining "Star de Republic" and later Oko's Band after which he left to K. Gyasy's band where he worked for more than six years. As a prolific songwriter and singer, here's the reissue of his amazing album, a modern fusion of hi-life and soul. The excellent background is given by the famous Cubanos Fiesta with members of Vis-A-Vis band. Originally produced on the major Polydor, this four songs recording is a blend of danceable and spiritual soul and straight hi-life. A must have vinyl of percussive Afro-funk for all the music connoisseurs, Me Da A Onnda a true masterpiece. Remastered by Frank Merritt at The Carvery; Pressed on Replika format; Fully licensed by the Alhadji Kwame Frimpong Family.
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LP
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WWSLP 053LP
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$29.50
PREORDER
RELEASE DATE: 11/26/2021
Wewantsounds reissue Omar Khorshid's highly sought-after instrumental album Giant + Guitar originally released in 1974 in Lebanon and recorded at Polysound Studio by famed Lebanese engineer Nabil Moumtaz. The album features Khorshid's unique electric guitar sound mixed with Arabic melodies over superb psych arrangements. Omar Khorshid's life, if short (he died age 36 in a road accident), was extraordinary. Blessed with a great talent for music, the Egyptian musician and actor became one of the best guitarists of the Arab World accompanying the greatest stars of the '60s and '70s, including Oum Kalthoum, Abdel Halim Hafez and Farid El Atrache. To avoid the political troubles of the time in Egypt, and to fulfil his artistic ambitions, Khorshid moved to Beirut in Lebanon in 1973 and started recording a string of superb albums experimenting with oriental music. He recorded for several labels including Voice of Lebanon, one of the key Lebanese labels of the time. He released his first album Giant + Guitar for the label in 1974 and it was an instantly popular in the Arab world. The front cover sees Khorshid on his motorcycle in the busy street of Hamra, one of the most vibrant Beirut neighborhoods where he was playing most nights in residence. (The album was also released internationally as Rhythms from the Orient with a different artwork focusing on belly dance). The sound is both bold and accessible, displaying Khorshid's unique guitar sound, accompanied by a small band mixing traditional and modern fuzzed-up arrangements. The mesmerizing opening track, "Rakset El Fadaa", composed by Lebanese musician Nour Al Mallah, is a perfect example of Khorshid's artistry. Starting with a long, hypnotic guitar intro, it then speeds up with the backing of a groovy organ, Oriental percussion and the psych sound of an early synthesizer to great effect. The album continues on the same mode blending traditional oriental music with inventive arrangements as showcased by the Mohamed Abdel Wahab standard "Leilet Hob" popularized by Oum Kalthoum, which sees Khorshid and his musicians shifting pace several times over eight minutes. One of the peaks of the album in terms of sonic experiments is undoubtedly Korshid's own composition, "Taqassim Sanat Alfein", with Khorshid's superb guitar in full bloom accompanied by a few touches of synth. Wewantsounds' series of Arabic music reissues are curated by Mario Choueiry from Institut du Monde Arabe in Paris. Newly remastered; includes original Voice of Lebanon artwork and a two-page insert featuring liner notes by DJ Ernesto Chahoud.
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MAR 041Y-LP
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$35.50
PREORDER
RELEASE DATE: 11/19/2021
Yellow vinyl version. Mad About Records present a first-time reissue of Leo Acosta's Acosta, originally released in 1970. Legendary Mexican psych Latin jazz funk. Leobardo Acosta Quintanar was born in Huetamo, Michoacán in 1925. He was a notable drummer, composer, arranger, and orchestrator. In 1970, he recorded a last LP for Capitol with a small combo formed with some of his closest peers. The sound engineer for these sessions, Rogiero Silva, recalls that it happened in the night time. Leo was always very demanding in his studio hours with all of his musicians and that he did not tolerate mistakes or setbacks, but he was fully relaxed and enjoying this one very much. For this last LP, entitled Acosta but known as El Leon, all the compositions are originals, unlike his previous albums where the labels required him to record at least six songs that were hits on the popularity charts. Deluxe hard-cardboard sleeve; OBI; includes two-page info sheet with Leo Acosta story in English and Spanish by Carlos Tropicaza.
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FARO 227CD
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$14.00
PREORDER
RELEASE DATE: 11/19/2021
Far Out Recordings present a reissue of Argentinian guitarist Agustín Pereyra Lucena's 1980 album La Rana. Recorded in Oslo, La Rana features Agustín's stunning takes on compositions by Ivan Lins, Antonio Carlos Jobim, and Agustín's friend and musical hero Baden Powell. In addition to these, and a number of Agustín's own compositions including the fifteen-minute masterpiece "Encuentro De Sombras", the album's title track is an idiosyncratic version of Joao Donato's "A Rã" (The Frog) from his 1973 album Quem É Quem. Forming the rest of the quartet are two fellow Argentinians who were also Agustin's bandmates from the group Candeias: bassist and multi-instrumentalist Guillermo Reuter and flautist Ruben Izarrualde; with Norwegian drummer Finn Sletten on drums and percussion. Throughout La Rana you hear not only Agustín's fabled guitar playing, which ascended him to share stages with the likes of Vinicius de Moraes, Dorival Cayymi, Toquinho, Maria Bethania, Chico Buarque, and Quarteto Em Cy, but also his talent as a vocalist. He also provided the heartening illustration for the cover art, which perfectly fits the cordial, inviting tone of the music. Inspired in equal measure by South American rhythms and Norwegian glaciers, mountains and waterfalls, La Rana is filled with the warmth, humility and sincerity of a man seizing a joyful moment in life through music.
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12"
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KALITA 12019EP
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$16.50
PREORDER
RELEASE DATE: 11/19/2021
Kalita Records announce the first ever re-release of "Asew Watchman" and "Mabre Agu", two phenomenal pieces of Ghanaian boogie/burger highlife from Wilson Boateng's sought-after 1988 record Highlife Rock. With original copies impossible to find, it's perfect time for Kalita Records to shine a spotlight on Wilson and his music via a loud-cut 12" single optimized for dancefloor action. In addition, Kalita invite Amsterdam-based producer and DJ Mendel back into the fold for two remixes sourced from the original multitrack session tapes. Following on from their Nana Tuffour retrospective in 2018, here Kalita focus again on the 1980s phenomenon of burger highlife, a crossover of highlife melodies with synthesizers, disco and boogie that took over Ghanaian airwaves during the decade and beyond. Originally privately released in a small run by Wilson himself, "Asew Watchman" and "Mabre Agu" were both recorded in Brixton, London in 1988 after his relocation from Ghana to the UK in search of stardom, following the footsteps of burger highlife stars Pat Thomas, George Darko and Thomas Frempong. Sadly, however, after pressing one thousand copies of the album, and although the music itself rivalled the very best burger highlife of the time, Wilson was beset by various obstacles both in London and back home. As such, the record was unable to make the headway that it deserved, and the music was soon lost into obscurity. Nevertheless, with original copies now selling for triple figures on the second-hand market, and after a two-year search to track Wilson down, Kalita now work with and celebrate the outstanding burger highlife of Wilson Boateng.
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