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LBR 156LP
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$35.50
PREORDER
RELEASE DATE: 9/25/2026
Blending Afro-Uruguayan rhythms with rock, soul, jazz, and funk, Ruben Rada has left an indelible mark on the musical landscapes of Uruguay and Argentina from the 1960s to the present. In the '60s, alongside Eduardo Mateo, he helped pioneer candombe beat with the legendary band El Kinto. In the early 1970s, Rada broke new ground again with Totem, fusing Afrobeat and rock into a sound well ahead of its time. He later joined the Fattoruso brothers and Airto Moreira in Opa, contributing to the band's now-iconic jazz fusion sound during his time in the United States. In the 1980s, Rada relocated to Buenos Aires, where he formed a powerhouse ensemble featuring top musicians from both sides of the Río de la Plata. Together, they created a string of acclaimed albums blending candombe with jazz and rock -- marking one of the most celebrated periods of his career. La Yapla Mata (1985) stands out as one of the finest records Rada produced during that era -- a vibrant fusion of candombe rhythms with rock, jazz fusion, and soul, all anchored by his extraordinary voice. The album includes some of his most iconic songs, such as "Candombe para Gardel." Once a well-kept secret in Uruguay and Argentina, La Yapla Mata is now being released internationally for the first time -- forty years later.
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LBR 056LP
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$35.00
PREORDER
RELEASE DATE: 7/17/2026
Released at the end of 1966, Los Mockers' debut album stands as one of the defining rock and roll records to emerge from South America in the 1960s. While often compared to The Rolling Stones because of Polo Pereira's unmistakable vocal swagger, the band built a sound of its own: rooted in the bluesier side of the British Invasion, yet rougher, fiercer, and unmistakably rioplatense. Recorded in Buenos Aires under modest technical conditions, the album transformed limitations into creativity. The result is a collection bursting with urgency and inspiration -- from swaggering rhythm and blues and explosive rock and roll to infectious pop melodies and unforgettable ballads. More than fifty years after its original release, the album remains as youthful, vibrant, and essential as ever.
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LBR 126LP
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$35.00
PREORDER
RELEASE DATE: 7/17/2026
Completes the vinyl collection of Los Mockers, alongside the reissue of their original 1966 LP and their 2018 EP Some Silly Songs. This handful of tracks, previously unreleased or out of print, traces the journey of five teenagers who, clinging to rock and roll, became legends. Blending the raw energy of 1960s rock and roll with rhythm and blues roots and later-day musical maturity, Los Mockers left a lasting mark on the Río de la Plata scene from their explosive beginnings to their 21st-century comeback. Rewind brings together rare recordings spanning nearly sixty years: from mid-1960s demos and singles to reunion sessions recorded between 2006 and 2012, including deleted material and an unreleased live track. Side A captures the band's early fire, opening with a 1965 demo of "I Just Want to Make Love to You," recorded under their original name, Los Encadenados, at Radio Ariel in Montevideo. It also includes their first original singles, "I Wanna Go" and "My Baby," plus the unreleased "Girl You Won't Succeed" and a fast, distinctly Uruguayan take on "Paint It Black." Side B focuses on the reunion era recordings made in Valencia, Spain, where the band revisited their legacy with renewed strength and craftsmanship. Tracks like "Need Some Time," "40 Years Ago," and "The Chain" show a seasoned group still driven by authentic rock and roll spirit, while "25 Watts" pays tribute to filmmaker Juan Pablo Rebella. The album closes with a powerful 2012 live version of "Tell Me Something New."
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LBR 163LP
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Emerging from Montevideo's fast-evolving underground scene, Davus built his career by fusing irony, emotional honesty, and street-level storytelling with a sound rooted in trap and its subgenres -- plug, Detroit, and sexy drill. From early independent releases to major collaborations with leading figures of the Latin American urban movement, his work has consistently pushed beyond trends while remaining deeply connected to the pulse of his generation. This vinyl brings together key moments from across his catalog -- songs that trace his evolution from underground innovator to a defining voice of contemporary South American urban music. More than a collection, it stands as a cultural snapshot of a generation that found its sound, its language, and its attitude through Davus's ever-evolving artistry -- while simultaneously opening the door to a new chapter shaped by bold collaborations and cross-border creative exchange.
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LBR 157LP
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Blending Afro-Uruguayan traditions with rock, soul, jazz, and funk, Ruben Rada has shaped the music scenes of Uruguay and Argentina from the 1960s to the present. Alongside Eduardo Mateo, he pioneered candombe-beat during his time with the legendary band El Kinto. In the early 1970s, he fused Afrobeat with rock in the trailblazing group Totem and later helped define the distinctive jazz fusion sound of Opa -- collaborating with the Fattoruso brothers and Airto Moreira during his years in the United States. In the 1980s, Rada settled in Buenos Aires and assembled a powerhouse band featuring top talent from both Uruguay and Argentina. Together, they created a series of unforgettable albums that fused candombe with jazz and rock -- marking one of the most celebrated periods of his career. Adar Nebur, originally released in 1984, captures Rada and his band at their peak. Backed by a stunning horn section, they blend Latin rhythms with jazz, soul, and the new wave sounds of the '80s. Now, more than forty years later, this hidden gem is being released internationally for the first time.
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LBR 161LP
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Jaime Roos and Mauricio Rosencof are two of Uruguay's most beloved and influential artists. Roos, a groundbreaking musician, redefined Uruguayan music in the 1980s with his signature fusion of deep-rooted local rhythms and cosmopolitan flair. Rosencof, a celebrated writer and playwright who emerged in the early 1960s, was also a prominent figure in the historic Tupamaros guerrilla movement. Their paths converged in 1987, when Roos composed the score for Rosencof's play El Regreso del Gran Tuleque. During this collaboration, Roos discovered a series of sonnets Rosencof had written while imprisoned under Uruguay's brutal dictatorship. Held in solitary confinement for over eleven years, Rosencof composed these poems as a lifeline -- scribbled on cigarette papers and hidden in the hems of clothes his family collected for laundering. Against all odds, both the author and his poems survived. The sonnets tell a delicate, moving love story set in 1950s Montevideo. Roos, inspired and captivated, rose to the challenge of transforming them into music. The result was La Margarita -- a groundbreaking project in which Roos masterfully fused Uruguay's rich musical traditions -- candombe, murga, tango, and milonga -- with elements of folk and rock, creating a deeply evocative set of songs as only he could deliver. Beyond its beautiful music, La Margarita stands as a testament to resilience, creativity, and the enduring power of love and art. LP includes booklet.
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LBR 127LP
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Eté y Los Problems present Plata, an album about the sea. Eleven songs about staying afloat, eleven journeys through the storm, a record to be listened to in full, carried by the current. The fifth album by Eté y Los Problems, produced by Ale Vázquez together with Sebastián Teysera from La Vela Puerca, is undoubtedly the band's most ambitious work to date. The depth of the sound, the variety of instrumentation, the richness of styles, the weight of the songs, and a brilliant, adventurous spirit that touches everything make Plata a definitive piece. Tides, tempests, shipwrecks, and sunsets on the beach. Sailors whispering love prayers, the Devil, the Virgin, a young girl's voice, the crew's chant. The treasure listeners will find along the journey.
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OSMO 003LP
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In August of 2023, after a couple of years of not playing reggae, Iván Lee felt the urge to go back to it. Undusting some old recordings and starting to listen to Lee "Scratch" Perry´s voice again opened the gate for inspiration to flow. Laying down basic piano rhythms over drum tracks played by Winston "Horseman" Williams, new songs started to emerge. August seemed to be a fertile month and riding that wave Chimurenga Renaissance came into the studio to collaborate on several tracks of the album, adding mbira, percussion, and guitars plus Tendai "Baba" Maraire´s sharp raps. Just some days later the dancehall legend Lady Ann laid down the vocals for the great "First Lady of Dancehall" track, making the album gain strength and purpose. Recorded between London, New York and Buenos Aires this album has a start studded lineup of musicians and collaborators. Upsetter Kids Forever is the title of Iván Lee´s debut album and it comes from a studio session during which Lee scribbled these words on to Ivan´s jacket. "Years later while working on the album I realized that we were all Lee fans, everyone involved in making this music has been touched and inspired by him."
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LBR 160LP
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Renowned American saxophonist David Binney -- a leading figure in the alternative jazz scene for several decades -- recently joined forces with celebrated saxophonist and multi-instrumentalist Henry Solomon for a tour across South America. Binney's prolific output includes over 25 solo albums, along with collaborations with Gil Evans, Maria Schneider, Jim Hall, Vince Mendoza, Vinicius Cantuária, Carlinhos Brown, Norah Jones, Antonio Sánchez, and many others. Solomon is known for his genre-crossing work with artists such as Logan Kane, Paul Cornish, HAIM, and Vampire Weekend. The duo connected in Montevideo, Uruguay, with visionary drummer Mateo Ottonello -- a key figure in the Río de la Plata new jazz scene. Ottonello is celebrated for his innovative fusion of jazz, electronic music, and traditional Uruguayan rhythms. Together, the trio recorded with a group of candombe drummers, tapping into the deeply rooted Afro-Uruguayan tradition. The result is a genre-defying collaboration that merges the improvisational fire of free jazz, the atmospheric textures of ambient music, and the hypnotic, polyrhythmic pulse of candombe.
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LBR 133LP
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Argentine pianist Hernán Jacinto and Uruguayan drummer Mateo Ottonello come together in this boundary-pushing duo album recorded in New York. Blending acoustic and electronic textures, tradition and innovation, this project reimagines South American jazz through a contemporary lens -- offering a powerful journey into the evolving sound of the Rio de la Plata. The two shores of the Río de la Plata -- Buenos Aires and Montevideo -- share a deep and vibrant jazz tradition, one that merges global influences with the region's rich musical heritage. For over half a century, rhythms like tango, candombe, and milonga have intertwined with jazz and other instrumental forms, continually exploring new directions and pushing creative boundaries. Argentine pianist and composer Hernán Jacinto and Uruguayan drummer and percussionist Mateo Ottonello embody this spirit of exploration. Though from different generations, both are among the most innovative voices in the Río de la Plata music scene -- artists unafraid to blend past and present in pursuit of something new.
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OSMO 002LP
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Embark on a sonic journey through the rich tapestry of Ian Lampel's multicultural heritage with his debut solo album, The Parque Rodó Tapes. From the echoes of his grandparents' wartime exodus from Europe's tumultuous past to the rhythms of daily life in Parque Rodó, Lampel's artistic vision was shaped by a kaleidoscope of influences: Science fiction and fantasy books, graphic design annuals, comics, films, early computers and videogames as well as music; the haunting melodies of Russian and Polish classical composers hummed by his grandmother while cooking, the choir and Hammond music of the synagogue, his early explorations in club music and dub or the syncopated drumming of candombe and carnaval echoing in the streets of Montevideo. The composer, producer and bass player, wrote, sequenced and recorded practically everything that is heard throughout the album. With meticulous attention to detail, he has crafted a sonic landscape that seamlessly blends elements of jazz and Uruguayan music with the innovative spirit of dub, hip-hop and electronica; from the infectious rhythms of candombe and the raw energy of murga, to breakbeats, moog's and samples. Drawing from a treasure trove of samples collected over two decades, The Parque Rodó Tapes weaves together a tapestry of sound that is both nostalgic and forward-thinking, from the haunting voice of Marosa Di Giorgio and the vibrant cacophony of a carnival field recording by Lauro Ayestaran, to the guest contributions from notable musicians including Lampel's wife, singer/songwriter Eco Lopez, multi-instrumentalist Luciana Giovinazzo on flute, and Ferna Nunez on repique drum. Each track is a testament to Lampel's eclectic vision. A debut album with a certain degree of melancholy that works as a soundtrack to the world in which the artist grew up, a world now gone, without cellphones or social networks, in which everything had to be proactively pursued "in the streets."
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LBR 058LP
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Butterfly Records presents a vinyl reissue of Radio Babilonia, the fourth electrifying studio album by Uruguayan band Traidores. The album was originally released on CD and cassette in 1995 and it stands as one of the most representative works of their career. In Radio Babilonia voices of Juan Casanova and Víctor Nattero converge into a symphony of intense emotions and profound reflections. Each note resonates with their musical legacy, rising as a testament to the reality that surrounded them, where pain and beauty intertwine in a powerful auditory experience. With a style that defies convention, their lyrics transport listeners to a world of poetic chronicles, inviting them to explore the catastrophes of the present and future through their vibrant and critical lens. This album from 1995 is a masterpiece for those who seek an authentic and moving sound -- a sonic journey that reflects its time and makes a bold statement. Songs like "Máquina" and "Crónica del Sur" explore inner turmoil and fracture realities, wrapped in melodic brilliance and sharp arrangements. Nattero's guitar work shines, especially in tracks like "Ella sabe bien" and "Pasajero de un tren," where a sense of déjà vu echoes through the lyrics. Side A closes with the haunting waltz "Como una plegaria," evoking blood-stained devotion. Side B deepens the album's mystique, offering lucid hope through punk anthems like "Enemigo del mundo" and "Fragmentos de mí." It culminates in the defiant "Canción rebelde." Traidores channel poetic rage into a powerful, redemptive soundtrack for a disenchanted era.
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LBR 144LP
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Nicolás Ibarburu is a prominent figure in Uruguayan music. Renowned for his exceptional guitar skills since his teenage years, he has also established himself as a talented songwriter. In La Ruta de la Seda, he showcases a unique blend of personal songwriting, Latin fusion rhythms, pop sensibility, and deep-rooted Uruguayan musical influences. He quickly gained recognition, performing alongside his brothers, Martín and Andrés, in various projects. Ibarburu's mastery of the guitar has led to collaborations with legendary figures from both Argentina and Uruguay, including the iconic Luis Alberto Spinetta, Jaime Roos, Fito Páez, and Rubén Rada. As his career evolved, Ibarburu expanded his influence beyond performance, establishing himself as a talented songwriter with a captivating solo career. With his signature guitar sound and lyrics that explore the magic of artistic creation and the poetic depths of the subconscious, Ibarburu continues to push the boundaries of his artistry.
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LBR 132LP
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Inéditas showcases the incredible musicianship and creativity of Diane Denoir and Eduardo Mateo in their early years. These previously unreleased tracks, recorded between 1966 and 1968 in various settings, blend bossa nova, chanson française, jazz, and pop in unique ways, revealing another side of the South American scene during the 1960s. Born as Diana Reches, Diane Denoir made her debut as a singer in 1966, backed by Eduardo Mateo on guitar. Influenced by Françoise Hardy and Astrud Gilberto, along with her own unique style, she performed a special blend of chanson française, bossa nova (sung in Portuguese, English, and French), and jazz. By then, Mateo was already a well-known guitarist in the Uruguayan music scene and a sought-after arranger. He was also beginning to establish himself as an incredible songwriter, connecting different musical universes in unique ways. The two formed a fruitful artistic partnership that lasted until the early seventies. This album, originally released in 1998 on CD, is a compilation of various unreleased recordings from different sources (concerts, radio and TV recordings, homemade tapes) made between 1966 and 1968. It is a unique document that showcases their incredible musicianship and creativity in their early years. The duo swings from bossa nova classics like "The Girl from Ipanema" to the rhythm and blues of "Fever," including chanson française standards like "Le lendemain" and "La Dernière Valse." The album also features earlier versions of the three best-known Mateo songs performed by Diane: "Y hoy te vi," "Esa tristeza," and "Mejor me voy," all of which were inspired by Diane. Inéditas unveils a new dimension of South American music from an unforgettable era.
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LBR 131LP
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Blending Afro-Uruguayan traditions with rock, soul, jazz, and funk, Ruben Rada has shaped the music of Uruguay and Argentina from the 1960s to the present day. Throughout his career, he has consistently been surrounded by talented musicians who have been integral to his sound. This was especially true with Daniel "Lobito" Lagarde, bassist and founding member of the iconic band Totem in the early 1970s; Ricardo Nolé, keyboardist, arranger, and musical director of Rada's band in Argentina during the 1980s; and Nelson Cedréz, the drummer who has been by Rada's side since the 1990s. In 2016, these three musicians reunited to form Rada's Old Boys, releasing an album of jazz-infused reinterpretations of Rada's songs that earned rave reviews. Now, they return with Manos, a bold new album that reimagines Rada's works from every phase of his career, featuring deeply personal renditions and a special guest appearance from Rada himself on one track.
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2LP
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LBR 145LP
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The new double vinyl from Nair Mirabrat, honoring the masterpiece of Eduardo Mateo. This album features a curated selection of the best recordings from five heartfelt performances held between September 2022 and March 2023 at the iconic Hugo Balzo theater in Sodre. In 1972, Eduardo Mateo opened the door to a captivating musical universe, inviting us to explore its depths. Fifty years later, Nair Mirabrat revives that invitation, celebrating the essence of his music, where 13 songs shine like rays of light, weaving together time and space. Each track on this vinyl pays tribute to Mateo's creativity and talent, reinterpreted with a freshness that connects listeners to the past while propelling them into the future. With nearly 20 musicians on stage, the album showcases many renowned artists, recognized for their work as soloists and session musicians for some of Uruguay's greatest talents.
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10"
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LBR 134EP
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Halo, the latest studio album by Juana Molina, the experimental Argentine singer who captivates and seduces the world with her unique and unclassifiable songs, produced a unanimous acclaim from the public as well as specialized media. Exhalo closes this key stage in her career, where Juana shows the deep and powerful material that was left out of her last LP. Juana Molina has variously been described as pure genius (Les Inrockuptibles, FR), beguiling (Pitchfork, US), and is said to be one of the most extraordinary singers around (Sunday Times, UK), who is creating a slippery soundtrack for the subconscious and subtle, unclassifiable sonic magic. In 2017 she released her latest studio album, Halo, defined as her finest yet (Pitchfork, US), endlessly bewitching (Mojo, UK), which blazes visionary new trails (Libération, FR), mesmerizing, from the first to the last second (WDR Kosmo, DE) and more fascinating and multifaceted, always becoming more headstrong and unmistakable (Les Inrocks, FR). Juana Molina is an Argentine actress, composer, songwriter, producer and performer, widely known in Argentina in the late '80s and mainly in the '90s with her television show Juana y sus hermanas ("Juana and her sisters"). Shortly after she left the television career to devote herself exclusively to music. Her unique style of playing and recording has taken her to the most important music festivals in the world in the last 30 years, such as Coachella, Glastonbury, Roskilde and Primavera Sound. She is frequently cited and praised by artists such as David Byrne, Chemical Brothers, St. Vincent, Feist, Devendra Banhart, and Phil Selway (Radiohead).
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LBR 006-2LP
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This is a special edition of the 40th Anniversary of Cuerpo y Alma by Eduardo Mateo, in 180 -gram vinyl with obi, new cover artwork and insert. Cuerpo y Alma was his second record as a soloist, originally released by Sondor in 1984. Recorded between 1981 and 1984 with Hugo Fattoruso, Osvaldo Fattoruso, Pippo Spera, Urbano Moraes, Travesia, and more. In this record Mateo also experienced with percussion trying to get closer to a Hindú Percussion. Eduardo Mateo is one of the most important influences in the history of the Uruguayan Music. Mixing beat, jazz, Bossa Nova, and candombe. He was the one who created the "Candombe-Beat" mostly known as "Fusión." He also was a member and inspired the legendary band El Kinto. Mateo was a versatile and constantly evolving musician. If there is a record, however, that can be seen as the condensation of all his work, it is Cuerpo y Alma. Here are examples of his disconcerting simplicity, his most radical experimentalism, his mystical vein, of his explorations with Eastern, African and Caribbean music, their different approaches to the candombe, his tenderness and his frilly climates, his childish surreal humor, of abstractions and permutations of what would be his phase "Time Machine." Mateo took care again of all the instruments in most of the grooves and built in them these minimum-constructivist arrangements in the manner of El Kinto. But there are also collective grooves with a more spontaneous and improvisational approach, interacting with some old friends (Urbano, Pippo, the Fattoruso, Eduardo Marquez) and new colleagues with whom he interacted in the following years (Travesía, Walter "Nego" Haedo).
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LBR 112LP
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La Suite de Raymundo is the latest album from Mandrake y los Druidas, Uruguayan experimental power rock band. An immersive, no-shortcuts-allowed experience. Following the powerful essence of their previous releases, the band now explores playful and experimental territories with classical reminiscences. Recorded live in the studio with the four members playing together at barely a few steps in between, this record captures the band's energy at top performance. The result is a consolidated, energetic and powerful LP, which includes a 16'30" musical suite as the centerpiece that gives name to the album. La Suite de Raymundo is a conceptual work that challenges listeners to travel through the experience and immerse themselves into the essential. Born in Montevideo in 1962, Alberto "Mandrake" Wolf is an iconic composer and fundamental piece of Uruguayan popular music since the early 1980s. After three decades leading his former band Los Terapeutas, in 2017 he shocked the local musical scene with Mandrake y los Druidas, a supergroup formed next to younger musicians with a powerful and high-energy classic rock n' roll sound. Their debut album, Mandrake y los Druidas (2017), was pleasantly received by specialized critics and the fans, winning Graffiti Awards for Uruguayan Music in main categories: "Band of the Year", "Album of the Year", and "Best Rock and Blues Album". In 2020, they released Sortilegio, their second album, which definitely delved deeper into the band's sound and expanded its spirit. Three years later, they release La Suite de Raymundo, their third and definitive album. Gatefold.
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LBR 111LP
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Canciones de amor contains a selection of songs from the recital recorded live at the Teatro Solis in Montevideo in November 1992. The Uruguayan singer Eduardo Darnauchans was, by then, already recognized as an artist of singular sensitivity and had established himself as a lyricist and composer. What is of interest here is the exceptional expressive capacity of the performer, accompanied by a band which brings technique but also an understanding of style. In Darnauchans's privileged voice there is a palpitation of interpretative finesse and technical rarities, some of which are unique in Uruguayan popular music: the work on vowels and consonants, the use of vibrato, the musical handling of breathing. Certain versions are true gems, with real intimacy, that mystery of the interpreter that connects directly with the listener: "Épica", "Cuando escucho una canción de los Beatles" (an example of an arrangement that differentiates it from studio versions), and "Luna del ciempiés", with dark but magnificent poetics, music that brings together multiple influences, and a vocal interpretation that ranges from the finest emission, with the resources mentioned above -- and others -- to the synthesis of anguish and calm of the final recitative.
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LBR 084LP
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Art pop and experimental sounds in a sensitive, intimate experience. Helen Olhausen weaves mesmerizing vocals, hypnotic melodies, and minimalist beats. Romperse captures mystical, transformative songs, casting a new Uruguayan music atmosphere. Helen Olhausen, untethered by a single genre, combines her deep and ethereal voice with synthesizers, piano, strings, electronic elements, and human drums that sound like machines. In 2020, she released her debut album Romperse, a collection of 35 minutes divided into nine original creations. Her music explores diverse climates ranging from pop to electronic. Romperse tells the intimate, nostalgic, sensitive, and electric story that traverses the predictable rhythm that reaches the body in parallel with the unexpected and complex, as well as the nature of this element. Helen is a Uruguayan composer, singer, and producer from Salto (a city in northern Uruguay) who currently resides in Montevideo, Uruguay. Her music mesmerizes in its bold pursuit of experimentation and intimacy.
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LBR 096LP
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A place where indie rock intersected with the great Latin bands of the 1950s, fringe genres like cumbia villera were transformed into sophisticated music, tango joined alternative pop, and track music became contemplative and landscaped. Juan Campodónico has a long artistic career (Peyote Asesino, Bajofondo) and extensive experience as an artistic producer on some fundamental records of Uruguayan and South American music (Jorge Drexler, Cuarteto de Nos, and No te Va Gustar, among others). In Campo is a very heterogeneous group of composers, performers and instrumentalists from different genres and geographical locations (Jorge Drexler, Martín Rivero, Ellen Arkbro, Pablo Bonilla, and Verónica Loza, among others). Campo was based on the song format, jumping the limits of the Río de la Plata, immersing himself in rhythms, genres, and forms of South American songs from the past and present, seeking the link with pop, rock and electronic music. The album -- which received nominations for the American Grammys, the European MTV Awards and the Latin Grammys -- broke schemes and prejudices. He brought together opposite worlds such as cumbia and britpop, songwriters and dance music, or bolero and electropop, finding beauty and sophistication in unexpected places.
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LBR 090LP
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Almost 30 years after her last album release, Sylvia Meyer released ¿Quién?, an album where everything happens between her piano and her voice. Its exquisiteness, sensitivity, luminosity and refinement coexist with arranging complexity and virtuosic, achieving a unique texture and a voice that penetrates souls to nest there, and grow beauty. The musical atmospheres and the universes of beauty to which the songs that make up this album transport the listener rescue that sound so complete and, at the same time, so inevitably montevidean, which travels absolutely free. Meyer is one of the most important Uruguayan artists of the last four decades. Composer and owner of a unique and special voice. Everything that sighs fills it with beauty and mystery. Her music manages to transcend the borders of cinema, theater, concerts and art.
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LBR 102LP
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Los Terapeutas is a band of songs, where new wave, candombe beat, funk and rock were mixed in a unique way, with a strange frontman who had traces of Eduardo Mateo, Damo Suzuki, Frank Zappa, and David Byrne. Candombe del no sé quien soy is related to what the group did live at that time: looking for a state of hypnotic hanging with their songs. The playing of the candombe drums was obviously an inspiration to look for that trance state, as was the music of Mateo and that of Opa, but influences can also be traced from the rhythmic experiments of German band Can of the '70s. The album was released in the late 1990s, a complicated time for Uruguayan music. It was released on vinyl, a format that was losing weight compared to the CD. They would not release an album together again until 1997. In the 2000s, Los Terapeutas slowly expanded their audience, while also leaning towards a more electric sound. The new generation of Uruguayan musicians recognized the pioneering work of the band and Alberto Wolf was seen as a kind of godfather by several of the rock groups that were beginning to become massive.
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LBR 093LP
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In Hogar, Santiago Moraes reaffirms the identity that he had previously explored in his previous works, but now it is revitalized by the participation of the musicians from Transeúntes, as well as several guests from both banks of the river, such as the Nautilus band and Uruguayan guest musicians that give the final touch to a more than interesting production. Hogar is made up of nine songs in which Moraes returns to his lyrical debt to Javier Martínez, and manages to mix it with popular sounds that look towards Uruguay, the land of his parents. Moraes has an uncanny ability and acute gaze for building warm and endearing stories and characters in the old school tradition of Robert Artl and his "aguafuertes". His songs, both powerful and melancholic, are felt portraits of people who have crossed his path at various times in his life. This is his third album as a solo artist, and it includes a variety of genres: ballads and candombe, blues and milonga, like a mix between Bob Dylan and Tom Waits with Eduardo Mateo and Alfredo Zitarrosa.
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