Far Out Recordings was founded in 1994 by London DJ and record producer Joe Davis whose longstanding and insatiable passion for Brazilian music led him to become the UK's foremost authority on Brazilian music. The label's aim has been to bring the sound of Brazil to the world -- to showcase the history and culture of a land bursting with creativity and energy -- from the classic to the cutting edge. There have been numerous releases from both new and established Brazilian artists including legends such as Azymuth, Joyce, Marcos Valle, Arthur Verocai, The Ipanemas, Sabrina Malheiros, Clara Moreno and Binario, to name a few. Alongside Brazilian music, the label is also well known for its longstanding association with underground dance music, having collaborated with some of the most acclaimed and accomplished electronic producers of our times. This had led to a rich plethora of pioneering and innovative dance and beats music, forging a future for the oft-neglected role of Brazil and its rhythms in the complex dance music diaspora of the UK and US, with 12" remixes and original productions from the likes of Theo Parrish, Mark Pritchard, 4hero, Dego, Andres, Marcellus Pittman, Kirk Degiorgio, Nicola Conte, A.D. Bourke, Henry Wu and Rick Willhite among many others.
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2LP
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FARO 249LP
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$34.00
PREORDER
RELEASE DATE: 4/4/2025
Double LP version. Far Out Recordings presents a landmark discovery in Brazilian jazz: the long lost album by drumming pioneer Edison Machado. Recorded in New York City in early 1978 but never released, Edison Machado & Boa Nova captures a pivotal figure in Brazilian music history at the height of his artistic powers. After facing persecution under Brazil's military dictatorship and being forced to sell his drum kit in 1976, Machado found renewed creative purpose in New York with the Boa Nova ensemble. The resulting album captures the essence of his genius -- sophisticated yet wild, controlled yet daring, leading an ensemble of some of the best jazz, samba and bossa nova players of the day. At just fifteen years old, Machado revolutionized Brazilian music through an accident that would change everything -- when his snare drum broke during a performance, he began playing samba rhythms on the cymbal. This innovation, known as "samba no prato" (samba on the cymbals), brought new layers of dynamism to samba and proved instrumental in the development of bossa nova alongside contemporaries like Antonio Carlos Jobim and João Gilberto. A complex and passionate figure, Machado was notorious for his militant perfectionism and "attacking" style of drumming. Having spent some years of his youth in the Brazilian army, musicians often remarked that he played as if he were at war. But his innovative style, while exhibiting complete control and sophistication, somehow so often danced right on the edge of chaos and wild abandon. After making his name in Rio's legendary Beco das Garrafas (Bottles Alley) in the 1950s and early '60s, Machado went on to form Bossa Três -- the world's first instrumental bossa nova group. His influence spread internationally through collaborations with Stan Getz, Sergio Mendes, Antônio Carlos Jobim, Milton Nascimento, and Chet Baker, while his 1964 album Edison Machado É Samba Novo stands as a masterpiece of Brazilian jazz. At 80 minutes in length, Edison Machado & Boa Nova, the lost 1978 New York sessions, is a singular achievement in Brazilian jazz. The format itself is a rarity in the canon. It's packed full of exceptional technical precision and creative vitality, with sophisticated arrangements and masterful improvisation from its exceptional sextet of Brazilian and US musicians: Paulinho Trompete (flugelhorn/trumpet), Ion Muniz (tenor saxophone), Steve Sacks (baritone saxophone), Mozar Terra (piano), and Ricardo dos Santos (double bass). The album features unheard compositions by Brazilian masters Dom Salvador, Guilherme Vergueiro, and Aloisio Aguiar, amidst the plethora of captivating original material by the members of the Boa Nova ensemble.
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CD
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FARO 249CD
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$12.50
PREORDER
RELEASE DATE: 4/4/2025
Far Out Recordings presents a landmark discovery in Brazilian jazz: the long lost album by drumming pioneer Edison Machado. Recorded in New York City in early 1978 but never released, Edison Machado & Boa Nova captures a pivotal figure in Brazilian music history at the height of his artistic powers. After facing persecution under Brazil's military dictatorship and being forced to sell his drum kit in 1976, Machado found renewed creative purpose in New York with the Boa Nova ensemble. The resulting album captures the essence of his genius -- sophisticated yet wild, controlled yet daring, leading an ensemble of some of the best jazz, samba and bossa nova players of the day. At just fifteen years old, Machado revolutionized Brazilian music through an accident that would change everything -- when his snare drum broke during a performance, he began playing samba rhythms on the cymbal. This innovation, known as "samba no prato" (samba on the cymbals), brought new layers of dynamism to samba and proved instrumental in the development of bossa nova alongside contemporaries like Antonio Carlos Jobim and João Gilberto. A complex and passionate figure, Machado was notorious for his militant perfectionism and "attacking" style of drumming. Having spent some years of his youth in the Brazilian army, musicians often remarked that he played as if he were at war. But his innovative style, while exhibiting complete control and sophistication, somehow so often danced right on the edge of chaos and wild abandon. After making his name in Rio's legendary Beco das Garrafas (Bottles Alley) in the 1950s and early '60s, Machado went on to form Bossa Três -- the world's first instrumental bossa nova group. His influence spread internationally through collaborations with Stan Getz, Sergio Mendes, Antônio Carlos Jobim, Milton Nascimento, and Chet Baker, while his 1964 album Edison Machado É Samba Novo stands as a masterpiece of Brazilian jazz. At 80 minutes in length, Edison Machado & Boa Nova, the lost 1978 New York sessions, is a singular achievement in Brazilian jazz. The format itself is a rarity in the canon. It's packed full of exceptional technical precision and creative vitality, with sophisticated arrangements and masterful improvisation from its exceptional sextet of Brazilian and US musicians: Paulinho Trompete (flugelhorn/trumpet), Ion Muniz (tenor saxophone), Steve Sacks (baritone saxophone), Mozar Terra (piano), and Ricardo dos Santos (double bass). The album features unheard compositions by Brazilian masters Dom Salvador, Guilherme Vergueiro, and Aloisio Aguiar, amidst the plethora of captivating original material by the members of the Boa Nova ensemble.
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FARO 122XX-LP
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Remastered from the original tapes, Encore features 11 original compositions from Arthur with guest musicians including Azymuth, Ivan Lins, and a nine-piece string section. The highly anticipated follow up to Arthur's eponymous debut album from 1972, Encore saw Arthur joining the dots over 35 years to create a modern classic of Brazilian music that, like his debut, combined Brazilian influences with his take on American soul and cinematic experimentation, and shows Arthur's sound is as poignant now as it ever was. In the mid-2000's, following on from Marcos Valle, Joyce, and of course Azymuth, Arthur Verocai joined the long-line of Brazilian musicians whose music was to be introduced to a whole new legion of fans by Far Out. The story of Encore of course begins with Joe Davis, Far Out's head honcho who stumbled upon Arthur's debut in a dusty record store in downtown Rio in the late '80s. At the time of its release in 1972 critics panned Arthur's debut and both the album and artist subsequently vanished into obscurity. Fast forward to winter 2004 and Joe's at the studio of Far Out Recording artists Harmonic 313 -- aka production duo Mark 'Troubleman' Pritchard and Dave Brinkworth -- playing them some of his favorite Brazilian albums. Three months later and Dave was in Brazil with Arthur Verocai, and the plans for what was to become Encore were being laid down. Produced by Dave, Encore sees Arthur on incredible form, the 35 plus years between the recording of his debut and this the follow-up just melting away as Arthur picked up the (conductor's) baton once again to create 11 epic tracks of stirring samba-soul and experimental cinematic movements that sees him creating a record to rival his debut. Born in Rio de Janeiro on 17 June 1945, Arthur Verocai began his professional music career in 1969 and over the next few years he was responsible for the orchestration of albums by Ivan Lins, Jorge Benjor, Elizeth Cardoso, Gal Costa, Quarteto em Cy, MPB 4, and Marcos Valle, among others. In 1972, following the success Arthur had with the production of Ivan Lins 1971 album Agora, Arthur recorded his self-titled debut album on Continental Records. Arthur Verocai challenged the musical conventions of the day, combining Brazilian influences with folksy soul and lo-fi electronic experimentations of American artists like Shuggie Otis or the orchestration of producer Charles Stepney.
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FARO 233BLUE-LP
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Blue color vinyl version. Maceió, the capital of Brazil's Alagoas state on its sprawling east-coast, is home to pastel colored colonial houses, white sand beaches and a brilliant young composer, poet and multi-instrumentalist named Bruno Berle. With a voice of pure gold and a startling sensitivity for heartfelt pop songwriting, on No Reino Dos Afetos (In the Realm of Affections), Berle firmly embraces earnestness, through starry-eyed Brazilian love songs, ambient vignettes, warm, home-cooked beats and gentle strokes of MPB genius. "It's an album that was built from my desire to find beauty", Berle explains -- his simple, graceful words mirroring the graceful simplicity in his music. But amongst the simplicity, the compositions, arrangements and productions on No Reino Dos Afetos tingle with nuance and detail. On the contemporary R&B inspired lead single "Quero Dizer" -- produced by Berle and longtime friend and collaborator Batata Boy -- the swirling, lo-fi, kalimba, and guitar-fronted beat is turned into a feel-good hit by the ingenuity of Berle's honey-soaked vocal melody. Powerfully intimate, "O Nome Do Meu Amor" (My Love's Name) is a guaranteed tearjerker, with Berle's stunning voice soaring over gently plucked acoustic guitar and the textural flutter of soft movement, as if we hear him writing the song in the moment. Drawing upon a close-knit, collaborative scene of Maceió artists and musicians, (of which Berle and Batata Boy are vital members), Berle also recorded some of his friends' songs on the album, including João Menezes's "Até Meu Violao", the album's beautifully laidback sunshine soul opener, which has all the charm of early-70s João Donato. Having cut his teeth in soft-rock group Troco em Bala, and more recently finding himself embedded in both Rio and Sao Paulo's contemporary music scenes -- collaborating with the likes of Ana Frango Eletrico, who took the photo for the album cover -- No Reino Dos Afetos is as musically diverse as Bruno himself. It's hazy indie rock ("É Preciso Ter Amor"), calming ambient and field recording ("Virginia Talk") as well as Berle's own take on West African high life ("Som Nyame"). Instantly recognizable as a truly special artist, Berle's character fills every corner of the sound, which is unsurprising considering he played most of the instruments.
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7"
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JD 056EP
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Legendary Brazilian jazz-funk trio Azymuth present Arabutã (Daniel Maunick Dub), a vinyl-only 7" single. Arabutã, which takes its name from the Tupi Guarani word for the endangered Brazilwood tree, underscores Azymuth's fusion of timeless Brazilian jazz-funk and cosmic futurism. A symbol of both the value and fragility of Brazil's natural beauty, Arautã reminds listeners of the salience of indigenous wisdom to ecological preservation. In the hands of producer and long-time Azymuth collaborator Daniel Maunick, "Arabutã" is tweaked for a special mid-tempo 7", two-part, dancefloor dub mix.
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FARO 248CD
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At the forefront of a rising wave of Brazilian artists captivating international audiences, Nyron Higor brings a quiet yet potent sense of wonder to his new self-titled album. Born in Maceió, Higor's latest work is rooted in the traditions of Northeastern Brazilian music and golden-era MPB. Within the peaceful surroundings of his home, Higor weaves these roots together with global influences and contemporary production techniques, for a uniquely dreamlike vision of hope. Following the success of his self-released debut Fio de Lâmina -- an instrumental record of delicately balanced rhythmic and harmonic patterns, which earned support from tastemakers like Mr. Scruff, Gilles Peterson, and John Gomez -- Higor's new album is a move towards a more expansive, lyrical exploration of transcendence and triumph. Taking his demos and unfinished tracks to São Paulo, Higor worked alongside friends and collaborators from Brazil's vibrant contemporary music scene -- including fellow Maceioense artists Bruno Berle, Batata Boy, and New York-based Brazilian vocalist Alici Sol -- assembling a rich musical landscape and a cutting-edge development on the musical world from which he emerges. For Higor, the process of recording and producing in close collaboration with Berle and Batata Boy allowed him to fully cultivate the emotive power of his compositions. Album opener "Ciranda" sets the tone with a slow frevo rhythm, as wistful trombone melodies and melancholic acoustic guitar harmonies create an atmosphere both intimate and grand. Lead single "São Só Palavras," featuring Alici Sol and Bruno Berle, captures both the lightness and depth of young love in an all too fleeting minute-and-a-half moment of soaring brilliance. Building upon the instrumental sound of his debut, "Louro Cantador" with its playful organ, birdlike whistles and elegant acoustic guitar, emanates a kind of rare natural beauty, as each sound dances amidst the gentle pulse of Higor's bass. Through ten carefully crafted tracks, Higor's acuity for sound and silence draws listeners into a place that feels both deeply personal and universally resonant. This album is a testament to the timeless themes that define Higor's artistry, as well as his creative drive to overcome the obstacles he faces. Conveying his feelings of jubilance for his work, Higor notes, "This work is liberating, contemplative and victorious!" Each track invites the listener to experience the raw intimacy, the joy and longing, and the otherworldly ingenuity of Brazilian music, which seems to endlessly keep listeners coming back for more.
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LP
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FARO 248LP
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LP version. At the forefront of a rising wave of Brazilian artists captivating international audiences, Nyron Higor brings a quiet yet potent sense of wonder to his new self-titled album. Born in Maceió, Higor's latest work is rooted in the traditions of Northeastern Brazilian music and golden-era MPB. Within the peaceful surroundings of his home, Higor weaves these roots together with global influences and contemporary production techniques, for a uniquely dreamlike vision of hope. Following the success of his self-released debut Fio de Lâmina -- an instrumental record of delicately balanced rhythmic and harmonic patterns, which earned support from tastemakers like Mr. Scruff, Gilles Peterson, and John Gomez -- Higor's new album is a move towards a more expansive, lyrical exploration of transcendence and triumph. Taking his demos and unfinished tracks to São Paulo, Higor worked alongside friends and collaborators from Brazil's vibrant contemporary music scene -- including fellow Maceioense artists Bruno Berle, Batata Boy, and New York-based Brazilian vocalist Alici Sol -- assembling a rich musical landscape and a cutting-edge development on the musical world from which he emerges. For Higor, the process of recording and producing in close collaboration with Berle and Batata Boy allowed him to fully cultivate the emotive power of his compositions. Album opener "Ciranda" sets the tone with a slow frevo rhythm, as wistful trombone melodies and melancholic acoustic guitar harmonies create an atmosphere both intimate and grand. Lead single "São Só Palavras," featuring Alici Sol and Bruno Berle, captures both the lightness and depth of young love in an all too fleeting minute-and-a-half moment of soaring brilliance. Building upon the instrumental sound of his debut, "Louro Cantador" with its playful organ, birdlike whistles and elegant acoustic guitar, emanates a kind of rare natural beauty, as each sound dances amidst the gentle pulse of Higor's bass. Through ten carefully crafted tracks, Higor's acuity for sound and silence draws listeners into a place that feels both deeply personal and universally resonant. This album is a testament to the timeless themes that define Higor's artistry, as well as his creative drive to overcome the obstacles he faces. Conveying his feelings of jubilance for his work, Higor notes, "This work is liberating, contemplative and victorious!" Each track invites the listener to experience the raw intimacy, the joy and longing, and the otherworldly ingenuity of Brazilian music, which seems to endlessly keep listeners coming back for more.
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FARO 247LP
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LP version. A sublime expedition from Brazil to the sky, Modo Avião ("Airplane Mode") sees São Paulo-based trio Caixa Cubo jet further forth from the lineage of Brazilian instrumental music. Following in the footsteps of heroes like Azymuth, Antonio Adolfo, Cesar Mariano, and Marcos Resende, with the tried and tested trifecta of synthesizers, bass and drums, Caixa Cubo have carved out their own idiosyncratic ideal of golden-era Brazilian jazz-funk and samba-jazz. Encapsulating the vitality and experimentalism synonymous with Sao Paulo's musical history, Caixa Cubo playfully straddle the elegant and the surreal, with masterful songwriting and the consummate musicianship of longtime friends and bandmates Henrique Gomide (keyboards), Noa Stroeter (bass), and João Fideles (drums). Caixa Cubo have been playing together for over 14 years -- and that's "playing" in the truest sense of the word. As bassist Noa Stroeter explains: "A story, a joke, images, invented words, people we met on tour, places, fictitious or not, have always been part of our creative process. And they are precious materials beyond the musical work itself. This dynamic has stayed with us to this day, and for me it is the characteristic that guarantees that no matter what, we will have fun working." Presenting a contemporary reimagining of Brazilian grooves from the 1970s, Modo Avião marks an evolution for Caixa Cubo's music which delves deeper into the tradition of Brazilian instrumental music, while continuing to develop its rhythmic and harmonic possibilities. Utilizing an extensive understanding of Brazilian music history and Brazilian rhythm in particular, the group explore the seemingly endless possibilities of fusing carnival marches, frevo and Baião, with jazz, MPB and funk.
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CD
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FARO 247CD
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A sublime expedition from Brazil to the sky, Modo Avião ("Airplane Mode") sees São Paulo-based trio Caixa Cubo jet further forth from the lineage of Brazilian instrumental music. Following in the footsteps of heroes like Azymuth, Antonio Adolfo, Cesar Mariano, and Marcos Resende, with the tried and tested trifecta of synthesizers, bass and drums, Caixa Cubo have carved out their own idiosyncratic ideal of golden-era Brazilian jazz-funk and samba-jazz. Encapsulating the vitality and experimentalism synonymous with Sao Paulo's musical history, Caixa Cubo playfully straddle the elegant and the surreal, with masterful songwriting and the consummate musicianship of longtime friends and bandmates Henrique Gomide (keyboards), Noa Stroeter (bass), and João Fideles (drums). Caixa Cubo have been playing together for over 14 years -- and that's "playing" in the truest sense of the word. As bassist Noa Stroeter explains: "A story, a joke, images, invented words, people we met on tour, places, fictitious or not, have always been part of our creative process. And they are precious materials beyond the musical work itself. This dynamic has stayed with us to this day, and for me it is the characteristic that guarantees that no matter what, we will have fun working." Presenting a contemporary reimagining of Brazilian grooves from the 1970s, Modo Avião marks an evolution for Caixa Cubo's music which delves deeper into the tradition of Brazilian instrumental music, while continuing to develop its rhythmic and harmonic possibilities. Utilizing an extensive understanding of Brazilian music history and Brazilian rhythm in particular, the group explore the seemingly endless possibilities of fusing carnival marches, frevo and Baião, with jazz, MPB and funk.
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FARO 246ORG-LP
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Orange color vinyl. Between the release of his first album in 1962 and 2024, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together. Originally moving over in the mid-sixties on the back of bossa nova's international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. He spent the years following Vietnam in Rio writing music for TV and film, as well as four cult favorite albums in collaboration with some of Brazil's most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario, and O Terco. Túnel Acústico features two songs originally conceived during Valle's time on the West Coast: "Feels So Good," a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track "Life Is What It Is," composed around the same time, with percussionist Laudir De Oliveira from the group Chicago. Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the "Feels So Good" demo was restored with the help of producer Daniel Maunick, who also utilized AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware's vocal hook, as well as extra keyboards and percussion. On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc. The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno, Céu, and Moreno Veloso, as well as Valle's brother Paulo Sergio Valle.
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CD
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FARO 246CD
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Between the release of his first album in 1962 and 2024, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together. Originally moving over in the mid-sixties on the back of bossa nova's international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. He spent the years following Vietnam in Rio writing music for TV and film, as well as four cult favorite albums in collaboration with some of Brazil's most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario, and O Terco. Túnel Acústico features two songs originally conceived during Valle's time on the West Coast: "Feels So Good," a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track "Life Is What It Is," composed around the same time, with percussionist Laudir De Oliveira from the group Chicago. Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the "Feels So Good" demo was restored with the help of producer Daniel Maunick, who also utilized AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware's vocal hook, as well as extra keyboards and percussion. On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc. The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno, Céu, and Moreno Veloso, as well as Valle's brother Paulo Sergio Valle.
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Cassette
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FARO 246CS
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Cassette version. Between the release of his first album in 1962 and 2024, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together. Originally moving over in the mid-sixties on the back of bossa nova's international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. He spent the years following Vietnam in Rio writing music for TV and film, as well as four cult favorite albums in collaboration with some of Brazil's most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario, and O Terco. Túnel Acústico features two songs originally conceived during Valle's time on the West Coast: "Feels So Good," a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track "Life Is What It Is," composed around the same time, with percussionist Laudir De Oliveira from the group Chicago. Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the "Feels So Good" demo was restored with the help of producer Daniel Maunick, who also utilized AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware's vocal hook, as well as extra keyboards and percussion. On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc. The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno, Céu, and Moreno Veloso, as well as Valle's brother Paulo Sergio Valle.
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FARO 246LP
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LP version. Between the release of his first album in 1962 and 2024, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together. Originally moving over in the mid-sixties on the back of bossa nova's international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. He spent the years following Vietnam in Rio writing music for TV and film, as well as four cult favorite albums in collaboration with some of Brazil's most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario, and O Terco. Túnel Acústico features two songs originally conceived during Valle's time on the West Coast: "Feels So Good," a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track "Life Is What It Is," composed around the same time, with percussionist Laudir De Oliveira from the group Chicago. Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the "Feels So Good" demo was restored with the help of producer Daniel Maunick, who also utilized AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware's vocal hook, as well as extra keyboards and percussion. On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc. The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno, Céu, and Moreno Veloso, as well as Valle's brother Paulo Sergio Valle.
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CD
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FARO 245CD
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Renowned New York City house music icon Joaquin Joe Claussell has embarked on an electrifying project of ecstatic, spiritual club music with his latest endeavor: a double album worth of reinterpretations of the music from Italian jazz master Nicola Conte's 2023 album Umoja. Claussell's collaboration with Nicola Conte and Far Out Recordings helps mark the label's 30th anniversary, as Claussell joins fellow producers such as Theo Parrish, Ron Trent, Kenny Dope, and 4hero in remixing music from the label's catalogue. Extending the tracks from Umoja for full length, dance-floor focused mixes, Claussell has accentuated the original music's global, Afro-futurist vision with comprehensive rearrangements -- featuring additional percussion, guitars, keyboards, synthesizers and drum programming -- excavating the source music and re-recording many of its parts under the auspices of his Sacred Music & Cosmic Arts banner.
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FARO 245LP
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Double LP version. Renowned New York City house music icon Joaquin Joe Claussell has embarked on an electrifying project of ecstatic, spiritual club music with his latest endeavor: a double album worth of reinterpretations of the music from Italian jazz master Nicola Conte's 2023 album Umoja. Claussell's collaboration with Nicola Conte and Far Out Recordings helps mark the label's 30th anniversary, as Claussell joins fellow producers such as Theo Parrish, Ron Trent, Kenny Dope, and 4hero in remixing music from the label's catalogue. Extending the tracks from Umoja for full length, dance-floor focused mixes, Claussell has accentuated the original music's global, Afro-futurist vision with comprehensive rearrangements -- featuring additional percussion, guitars, keyboards, synthesizers and drum programming -- excavating the source music and re-recording many of its parts under the auspices of his Sacred Music & Cosmic Arts banner.
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FARO 244CD
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Having spent their formative years in São Paulo Brazil, as a teenager, Lau Ro found themself uprooted from their home. Moving with their family to Europe in search of a better quality of life, their story was like that of many immigrants in the same position. Lau Ro's parents found work in factories and cleaning jobs, for the first few years in the North of Italy and then in Brighton on England's Southern coast. "We never managed to visit back home, so my connection to Brazil became largely made up of childhood memories and my fascination with all the '60s and '70s music I could find from there." In Brighton, the young non-binary singer and composer would immerse themself amongst the city's vanguard of free-thinking artists and musicians. Lau Ro formed Wax Machine whose prefigurative, psychedelic community provided a glimmer of countercultural hope amid a backdrop of national political decline. From 2020 to 2023, Wax Machine birthed three cult-favorite albums in as many years; indebted in part to their British psychedelic forebears from progressive folk, rock and jazz yore. But the kernel of Lau's Brazilian sound was already beginning to blossom across Wax Machine's releases. Now, taking root deeper still, Lau Ro steps forward with their debut album: Cabana. Named after the small wood cabin at the bottom of their garden where the album was recorded, Cabana is a deeply personal record of memory, self-discovery and imagination. Melancholy and hope combine across ten tracks of dreamy bossa, ambient folk, fuzzy tropicalia and majestic MPB. The music is swathed in masterful string arrangements and trippy electronics in equal part, while Lau Ro's delicate, yet quietly confident voice takes acerbic aim (in both English and Portuguese) at polluted city life, while dreaming of a utopia, rich with nature and wildlife. Like the musical equivalent of semantic drift, Lau Ro's displacement led to the creation of another Brazil. A mythic place in Lau's soul, as they put it, "where the sunshine and joy of my childhood remained untapped." Lau continues: "It's music that might sound as if it came out of a parallel universe Brazil, rather than its modern-day landscape. I am nowadays rediscovering Brazil, going back as often as I can and trying to stay connected to these different parts of the world and myself."
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LP
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FARO 244LP
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LP version. Having spent their formative years in São Paulo Brazil, as a teenager, Lau Ro found themself uprooted from their home. Moving with their family to Europe in search of a better quality of life, their story was like that of many immigrants in the same position. Lau Ro's parents found work in factories and cleaning jobs, for the first few years in the North of Italy and then in Brighton on England's Southern coast. "We never managed to visit back home, so my connection to Brazil became largely made up of childhood memories and my fascination with all the '60s and '70s music I could find from there." In Brighton, the young non-binary singer and composer would immerse themself amongst the city's vanguard of free-thinking artists and musicians. Lau Ro formed Wax Machine whose prefigurative, psychedelic community provided a glimmer of countercultural hope amid a backdrop of national political decline. From 2020 to 2023, Wax Machine birthed three cult-favorite albums in as many years; indebted in part to their British psychedelic forebears from progressive folk, rock and jazz yore. But the kernel of Lau's Brazilian sound was already beginning to blossom across Wax Machine's releases. Now, taking root deeper still, Lau Ro steps forward with their debut album: Cabana. Named after the small wood cabin at the bottom of their garden where the album was recorded, Cabana is a deeply personal record of memory, self-discovery and imagination. Melancholy and hope combine across ten tracks of dreamy bossa, ambient folk, fuzzy tropicalia and majestic MPB. The music is swathed in masterful string arrangements and trippy electronics in equal part, while Lau Ro's delicate, yet quietly confident voice takes acerbic aim (in both English and Portuguese) at polluted city life, while dreaming of a utopia, rich with nature and wildlife. Like the musical equivalent of semantic drift, Lau Ro's displacement led to the creation of another Brazil. A mythic place in Lau's soul, as they put it, "where the sunshine and joy of my childhood remained untapped." Lau continues: "It's music that might sound as if it came out of a parallel universe Brazil, rather than its modern-day landscape. I am nowadays rediscovering Brazil, going back as often as I can and trying to stay connected to these different parts of the world and myself."
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CD
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FARO 240CD
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Bruno Berle, the young songwriter and poet originally hailing from Maceió, the capital of Brazil's Alagoas state, crafts songs that are simple, direct, and full of tender nuance. With his first album No Reino Dos Afetos (which translates to "In the Realm of Affections" and was released in 2022), Berle firmly established himself as a unique and important voice in the burgeoning scene of new Brazilian artists making a global impact, including peers like Ana Frango Elétrico, Tim Bernardes, Bala Desejo, Sessa, and more. Now back with his second album, No Reino Dos Afetos 2, he stretches that further. Bruno Berle's music lives between two worlds -- a traditional Brazilian folk talent steeped in history, and a contemporary, dreamy electronic pop; the result is songwriting that's genre-bending, intentional, iconoclastic and consuming, spacious and sinewy and singular, a striking reflection of its composer while leaving space for the listener to settle in. The guiding theme of No Reino dos Afetos 2 is a relationship, unfolding in the arc of a weekend. It traverses the innocence of an early young love, how that can be formative, can stretch on to take new shapes, or shape you. Coupled with the lo-fi aspects that shape much of the album's personality in the vocals and the production, No Reino Dos Afetos 2 is meticulously elaborated by Berle's sonic alchemy, like on the mid-album instrumental "Sonho," which feels like floating. The production, the arrangements, his restraint and intentionality in crafting his songs feel just as vital as their emotional cores. His songwriting is amorphous, fluid, an encompassing genre-bending movement in-and-of-itself, quietly daring. The songs are often in conversation with other works -- drinking in fountains as diverse as the filmmaking of Ingmar Bergman, the poetry of Walt Whitman, the rhythm of Djavan, and the painting of Maxwell Alexandre. Musically he weaves together a rich tapestry of Brazilian folk, UK 2-step garage/dub, trip hop and sun-soaked west coast songwriters; something akin to the worlds of Milton Nascimento, Arthur Russell, James Blake, Feist, and Sade colliding into one. Featuring Batata Boy.
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FARO 240X-LP
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Bruno Berle, the young songwriter and poet originally hailing from Maceió, the capital of Brazil's Alagoas state, crafts songs that are simple, direct, and full of tender nuance. With his first album No Reino Dos Afetos (which translates to "In the Realm of Affections" and was released in 2022), Berle firmly established himself as a unique and important voice in the burgeoning scene of new Brazilian artists making a global impact, including peers like Ana Frango Elétrico, Tim Bernardes, Bala Desejo, Sessa, and more. Now back with his second album, No Reino Dos Afetos 2, he stretches that further. Bruno Berle's music lives between two worlds -- a traditional Brazilian folk talent steeped in history, and a contemporary, dreamy electronic pop; the result is songwriting that's genre-bending, intentional, iconoclastic and consuming, spacious and sinewy and singular, a striking reflection of its composer while leaving space for the listener to settle in. The guiding theme of No Reino dos Afetos 2 is a relationship, unfolding in the arc of a weekend. It traverses the innocence of an early young love, how that can be formative, can stretch on to take new shapes, or shape you. Coupled with the lo-fi aspects that shape much of the album's personality in the vocals and the production, No Reino Dos Afetos 2 is meticulously elaborated by Berle's sonic alchemy, like on the mid-album instrumental "Sonho," which feels like floating. The production, the arrangements, his restraint and intentionality in crafting his songs feel just as vital as their emotional cores. His songwriting is amorphous, fluid, an encompassing genre-bending movement in-and-of-itself, quietly daring. The songs are often in conversation with other works -- drinking in fountains as diverse as the filmmaking of Ingmar Bergman, the poetry of Walt Whitman, the rhythm of Djavan, and the painting of Maxwell Alexandre. Musically he weaves together a rich tapestry of Brazilian folk, UK 2-step garage/dub, trip hop and sun-soaked west coast songwriters; something akin to the worlds of Milton Nascimento, Arthur Russell, James Blake, Feist, and Sade colliding into one. Featuring Batata Boy.
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FARO 240LP
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Bruno Berle, the young songwriter and poet originally hailing from Maceió, the capital of Brazil's Alagoas state, crafts songs that are simple, direct, and full of tender nuance. With his first album No Reino Dos Afetos (which translates to "In the Realm of Affections" and was released in 2022), Berle firmly established himself as a unique and important voice in the burgeoning scene of new Brazilian artists making a global impact, including peers like Ana Frango Elétrico, Tim Bernardes, Bala Desejo, Sessa, and more. Now back with his second album, No Reino Dos Afetos 2, he stretches that further. Bruno Berle's music lives between two worlds -- a traditional Brazilian folk talent steeped in history, and a contemporary, dreamy electronic pop; the result is songwriting that's genre-bending, intentional, iconoclastic and consuming, spacious and sinewy and singular, a striking reflection of its composer while leaving space for the listener to settle in. The guiding theme of No Reino dos Afetos 2 is a relationship, unfolding in the arc of a weekend. It traverses the innocence of an early young love, how that can be formative, can stretch on to take new shapes, or shape you. Coupled with the lo-fi aspects that shape much of the album's personality in the vocals and the production, No Reino Dos Afetos 2 is meticulously elaborated by Berle's sonic alchemy, like on the mid-album instrumental "Sonho," which feels like floating. The production, the arrangements, his restraint and intentionality in crafting his songs feel just as vital as their emotional cores. His songwriting is amorphous, fluid, an encompassing genre-bending movement in-and-of-itself, quietly daring. The songs are often in conversation with other works -- drinking in fountains as diverse as the filmmaking of Ingmar Bergman, the poetry of Walt Whitman, the rhythm of Djavan, and the painting of Maxwell Alexandre. Musically he weaves together a rich tapestry of Brazilian folk, UK 2-step garage/dub, trip hop and sun-soaked west coast songwriters; something akin to the worlds of Milton Nascimento, Arthur Russell, James Blake, Feist, and Sade colliding into one. Featuring Batata Boy.
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Cassette
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FARO 240CS
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Bruno Berle, the young songwriter and poet originally hailing from Maceió, the capital of Brazil's Alagoas state, crafts songs that are simple, direct, and full of tender nuance. With his first album No Reino Dos Afetos (which translates to "In the Realm of Affections" and was released in 2022), Berle firmly established himself as a unique and important voice in the burgeoning scene of new Brazilian artists making a global impact, including peers like Ana Frango Elétrico, Tim Bernardes, Bala Desejo, Sessa, and more. Now back with his second album, No Reino Dos Afetos 2, he stretches that further. Bruno Berle's music lives between two worlds -- a traditional Brazilian folk talent steeped in history, and a contemporary, dreamy electronic pop; the result is songwriting that's genre-bending, intentional, iconoclastic and consuming, spacious and sinewy and singular, a striking reflection of its composer while leaving space for the listener to settle in. The guiding theme of No Reino dos Afetos 2 is a relationship, unfolding in the arc of a weekend. It traverses the innocence of an early young love, how that can be formative, can stretch on to take new shapes, or shape you. Coupled with the lo-fi aspects that shape much of the album's personality in the vocals and the production, No Reino Dos Afetos 2 is meticulously elaborated by Berle's sonic alchemy, like on the mid-album instrumental "Sonho," which feels like floating. The production, the arrangements, his restraint and intentionality in crafting his songs feel just as vital as their emotional cores. His songwriting is amorphous, fluid, an encompassing genre-bending movement in-and-of-itself, quietly daring. The songs are often in conversation with other works -- drinking in fountains as diverse as the filmmaking of Ingmar Bergman, the poetry of Walt Whitman, the rhythm of Djavan, and the painting of Maxwell Alexandre. Musically he weaves together a rich tapestry of Brazilian folk, UK 2-step garage/dub, trip hop and sun-soaked west coast songwriters; something akin to the worlds of Milton Nascimento, Arthur Russell, James Blake, Feist, and Sade colliding into one. Featuring Batata Boy.
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FARO 243CD
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Meaning "Hi" in Uruguayan slang, Opa are a South American jazz-funk phenomenon. Fusing Uruguay's native Candombe rhythms with North American jazz and pop music, Opa's space-age synthesizers, boisterous grooves and compositional magic expressed a distinctive Afro-Uruguayan voice within the global jazz vernacular: a voice which remains as vital and unique today as when it was recorded, almost half a century ago. Having migrated to New York from Montevideo in the early seventies, Opa were heard playing in a nightclub by renowned producer and label owner Larry Rosen. At Holly Place Studios between July and August 1975, Rosen oversaw Opa's first recordings using a four track TEAC 3340. The album would become home to some of Opa's hardest hitting funk jams, with moments of songwriting wonderment and soulful pop and rock progressions combining with the jazz-funk fusion Opa would become known for. Mysteriously (for reasons unknown to the band), Opa's debut was shelved and remained so until the mid-1990s. But the Back Home recordings were used as demos, gaining Opa a record deal with Milestone Records and the subsequent release of two cult-favorite albums: Goldenwings (1976) and Magic Time (1977). Opa would also collaborate with North American titans including bassist Ron Carter, producer Creed Taylor, and Brazilian icons Airto Moreira, Flora Purim, Hermeto Pascoal, and Milton Nascimento. In more recent years Opa's music has found new audiences after being sampled by Captain Murphy (aka Flying Lotus) and Madlib. For fans of Azymuth, Weather Report, Cortex, and The Headhunters.
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LP
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FARO 243LP
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LP version. Meaning "Hi" in Uruguayan slang, Opa are a South American jazz-funk phenomenon. Fusing Uruguay's native Candombe rhythms with North American jazz and pop music, Opa's space-age synthesizers, boisterous grooves and compositional magic expressed a distinctive Afro-Uruguayan voice within the global jazz vernacular: a voice which remains as vital and unique today as when it was recorded, almost half a century ago. Having migrated to New York from Montevideo in the early seventies, Opa were heard playing in a nightclub by renowned producer and label owner Larry Rosen. At Holly Place Studios between July and August 1975, Rosen oversaw Opa's first recordings using a four track TEAC 3340. The album would become home to some of Opa's hardest hitting funk jams, with moments of songwriting wonderment and soulful pop and rock progressions combining with the jazz-funk fusion Opa would become known for. Mysteriously (for reasons unknown to the band), Opa's debut was shelved and remained so until the mid-1990s. But the Back Home recordings were used as demos, gaining Opa a record deal with Milestone Records and the subsequent release of two cult-favorite albums: Goldenwings (1976) and Magic Time (1977). Opa would also collaborate with North American titans including bassist Ron Carter, producer Creed Taylor, and Brazilian icons Airto Moreira, Flora Purim, Hermeto Pascoal, and Milton Nascimento. In more recent years Opa's music has found new audiences after being sampled by Captain Murphy (aka Flying Lotus) and Madlib. For fans of Azymuth, Weather Report, Cortex, and The Headhunters.
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FARO 242CD
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Following Far Out's reissue of Agustin Pereyra Lucena Quartet's La Rana (FARO 227CD, 2022), the label continues its memorialization of the late, great Argentinian guitarist's music, with the first ever direct from tape, audiophile reissue of Pereyra Lucena's self-titled debut album from 1970. One of the outstanding South American guitarists, Agustin Pereyra Lucena commanded a unique position in Latin music history. He hailed from Buenos Aires, but was obsessed with the music of Brazil. A disciple of Antônio Carlos Jobim, Baden Powell, and Vinicius De Moraes, the nature of Agustin's Argentinian roots combined with the nurture of Brazil and its music to give Agustin a sound entirely his own. Agustin enlisted fellow Argentinian Brazilophiles Mario "Mojarra" Fernandez, who played bass, and drummer Enrique "Zurdo" Roizner. For vocals, Agustin brought in his old friend, a French teacher called Helena Uriburu, who at the time had (unbelievably) never sung in a studio before. The atypical bossas and spiritual swinging sambas, composed by many of Agustin's aforementioned heroes, were elevated to new heights by Agustin's dazzling arrangements and phenomenal guitar playing. The almost cosmic reaches Agustin achieved with his sound are balanced against the stylish sophistication and breezy nature of the music. Accompanied by Roizner's shuffling samba jazz drums, opener "O Astronauta" is Agustin's cover of the Brazilian guitar standard composed by Baden Powell. Another Baden Powell classic, "Consolacao" is an extended full-band set, which features Agustin's crisp guitar dancing around a hypnotic rhythm section. Upright bass is swapped out for a big, round-sounding electric one, which sits loud in the mix for almost seven minutes of deep, groovy, distinctively early-seventies magic. Agustin passed away in 2019, and it is only in recent years that he is starting to gain his plaudits as one of South America's greats.
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FARO 190X-LP
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Following on from their seminal Light As A Feather LP (FARO 170CD), Outubro (October) was originally released in 1980 and began Azymuth's run of prolific output for Milestone Records throughout the decade. Typifying the consummate craftsmanship of the three members' performances -- each with such distinct personality and together so perfectly balanced -- their perfectionist attitude to sound is maintained across the production on the album, beautifully coloring the expressionist fusion of samba rhythm, jazz progression, funk attitude and psychedelic electronics. The album hosts a wonderful mix of tempos and styles, from Alex Malheiros' earth-shaking slap-bass on "Dear Limmertz," which was to become a hit on London's underground disco and jazz-dance club scenes alike, to the late maestro Jose Roberto Bertrami's genial melodic Rhodes excursions on the vocoder laden, samba-jazz masterpiece "Un Amigo," while Ivan "Mamao" Conti's signature swing on "Maracana" exemplifies the root of Azymuth's "samba doidoi" (crazy samba) philosophy. The two cover versions on the album consist of the title track which was originally penned by Milton Nascimento and Chick Corea's "500 Miles High," both of which magically reimagine the originals and further demonstrate the immense virtuosity of this cult recording. This Far Out Recordings release is mixed and mastered from the original tapes. Pressed on blue color vinyl.
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