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MAIS 037CD
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On the eve of her 80th birthday, Dona Onete, the grande dame of Amazonian song, returns with her third album Rebujo, a love letter to her hometown of Belém, situated deep in the Amazon. Rebujo brims with two music styles born in Belém: carimbós, influenced by African grooves, and bangues, a ska-type rhythm. Plus, there's a cumbia, brega ("romantic" music) and samba. Since the release of her 2017 album Banzeiro (MAIS 034CD/LP), Onete has become a superstar in Brazil -- she composed and sung the theme song for one of Brazil's biggest soap operas (A Força do Querer), been awarded the Brazilian Ordem do Mérito Cultural in recognition for her contribution to Brazilian culture, and her video for "No Meio do Pitiu" has an impressive 9.2 million views on YouTube. Outside of Brazil Onete has performed at Roskilde, Womad (UK, New Zealand, and Australia), Gilles Peterson's Worldwide Festival, and TFF Rudolstadt, and she is a global spokesperson for indigenous cultures. RIYL: Soundway Records, Analog Africa, Calypso Rose, Oumou Sangare. Mastered at the Carvery. CD version comes in a gatefold digipack; includes 16-page booklet with Portuguese lyrics and English translations; includes one bonus track.
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MAIS 037LP
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LP version. Includes printed inner sleeve. On the eve of her 80th birthday, Dona Onete, the grande dame of Amazonian song, returns with her third album Rebujo, a love letter to her hometown of Belém, situated deep in the Amazon. Rebujo brims with two music styles born in Belém: carimbós, influenced by African grooves, and bangues, a ska-type rhythm. Plus, there's a cumbia, brega ("romantic" music) and samba. Since the release of her 2017 album Banzeiro (MAIS 034CD/LP), Onete has become a superstar in Brazil -- she composed and sung the theme song for one of Brazil's biggest soap operas (A Força do Querer), been awarded the Brazilian Ordem do Mérito Cultural in recognition for her contribution to Brazilian culture, and her video for "No Meio do Pitiu" has an impressive 9.2 million views on YouTube. Outside of Brazil Onete has performed at Roskilde, Womad (UK, New Zealand, and Australia), Gilles Peterson's Worldwide Festival, and TFF Rudolstadt, and she is a global spokesperson for indigenous cultures. RIYL: Soundway Records, Analog Africa, Calypso Rose, Oumou Sangare. Mastered at the Carvery.
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MAIS 037LTD-LP
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LP version. Tropical red vinyl; includes printed inner sleeve. On the eve of her 80th birthday, Dona Onete, the grande dame of Amazonian song, returns with her third album Rebujo, a love letter to her hometown of Belém, situated deep in the Amazon. Rebujo brims with two music styles born in Belém: carimbós, influenced by African grooves, and bangues, a ska-type rhythm. Plus, there's a cumbia, brega ("romantic" music) and samba. Since the release of her 2017 album Banzeiro (MAIS 034CD/LP), Onete has become a superstar in Brazil -- she composed and sung the theme song for one of Brazil's biggest soap operas (A Força do Querer), been awarded the Brazilian Ordem do Mérito Cultural in recognition for her contribution to Brazilian culture, and her video for "No Meio do Pitiu" has an impressive 9.2 million views on YouTube. Outside of Brazil Onete has performed at Roskilde, Womad (UK, New Zealand, and Australia), Gilles Peterson's Worldwide Festival, and TFF Rudolstadt, and she is a global spokesperson for indigenous cultures. RIYL: Soundway Records, Analog Africa, Calypso Rose, Oumou Sangare. Mastered at the Carvery.
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MAIS 036LP
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Double LP version. Glossy gatefold sleeve; Includes insert with Japanese lyrics and English translations. Minyo Crusaders rework historic Japanese folk songs (min'yō) with Latin, African, Caribbean, and Asian rhythms for their debut album Echoes of Japan. Releases from Ryuichi Sakamoto, Haruomi Hosono, and Midori Takada have re-ignited global interest in Japanese music and Echoes of Japan marks the arrival of a big band like no other. "For Japanese people, min'yō is both the closest, and most distant, folk music," explains band-leader Katsumi Tanaka: "We may not feel it in our daily, urban lives, yet the melodies, the style of singing and the rhythm of the taiko drums are engrained in our DNA." Initially indifferent to min'yō, a tragic event in recent Japanese history set Tanaka on his current path: "Following the Tohoku earthquake of 2011, I reflected on my life, work and identity. A fan of world music, I began searching for Japanese roots music I could identify with. Discovering mid-late 20th century acts Hibari Misora, Chiemi Eri and the Tokyo Cuban Boys, I was captivated by their eccentric arrangements and how they mixed min'yō with Latin and jazz." Originally sung by fishermen ("Kushimoto Bushi"; "Mamurogawa Ondo"), coal miners ("Tanko Bushi") and sumo wrestlers ("Sumo Jinku"), these songs deal with topics such as the returning spirits of ancestors ("Hohai Bushi"), Japan's smallest bird ("Toichin Bushi"), and a bride's love for her husband's pockmarked face ("Otemoyan"). Minyo Crusaders are one of the most hyped acts on the Tokyo music scene that went national in 2018 through festivals such as Fuji Rock. The band features veterans of the Tokyo roots music scene such as bassist DADDY U (Ska Flames), keyboardist Moe (Kidlat), sax player Koichiro Osawa (Matt Sounds, J.J. Session), Yamauchi Stephan (J.J. Session), percussionist Mutsumi Kobayashi (Banda de la Mumbia), conga player Irochi (Cubatumb), and vocalist Meg (DJ collective Tokyo Sabroso). For fans of: Haruomi Hosono, Soundway Records, Analog Africa, Paradise Bangkok Molam International Band.
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MAIS 036CD
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Minyo Crusaders rework historic Japanese folk songs (min'yō) with Latin, African, Caribbean, and Asian rhythms for their debut album Echoes of Japan. Releases from Ryuichi Sakamoto, Haruomi Hosono, and Midori Takada have re-ignited global interest in Japanese music and Echoes of Japan marks the arrival of a big band like no other. "For Japanese people, min'yō is both the closest, and most distant, folk music," explains band-leader Katsumi Tanaka: "We may not feel it in our daily, urban lives, yet the melodies, the style of singing and the rhythm of the taiko drums are engrained in our DNA." Initially indifferent to min'yō, a tragic event in recent Japanese history set Tanaka on his current path: "Following the Tohoku earthquake of 2011, I reflected on my life, work and identity. A fan of world music, I began searching for Japanese roots music I could identify with. Discovering mid-late 20th century acts Hibari Misora, Chiemi Eri and the Tokyo Cuban Boys, I was captivated by their eccentric arrangements and how they mixed min'yō with Latin and jazz." Originally sung by fishermen ("Kushimoto Bushi"; "Mamurogawa Ondo"), coal miners ("Tanko Bushi") and sumo wrestlers ("Sumo Jinku"), these songs deal with topics such as the returning spirits of ancestors ("Hohai Bushi"), Japan's smallest bird ("Toichin Bushi"), and a bride's love for her husband's pockmarked face ("Otemoyan"). Minyo Crusaders are one of the most hyped acts on the Tokyo music scene that went national in 2018 through festivals such as Fuji Rock. The band features veterans of the Tokyo roots music scene such as bassist DADDY U (Ska Flames), keyboardist Moe (Kidlat), sax player Koichiro Osawa (Matt Sounds, J.J. Session), Yamauchi Stephan (J.J. Session), percussionist Mutsumi Kobayashi (Banda de la Mumbia), conga player Irochi (Cubatumb), and vocalist Meg (DJ collective Tokyo Sabroso). For fans of: Haruomi Hosono, Soundway Records, Analog Africa, Paradise Bangkok Molam International Band. CD version comes in gatefold digipack; includes poster with Japanese lyrics and English translations.
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MAIS 035LP
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LP version. Elza Soares returns with new remixes of tracks from her acclaimed The Woman At The End Of The World album (MAIS 031CD/LP, 2016). Mixing rock 'n roll, free-jazz, noise, and electronics, The Woman At The End Of The World was ripe for remixing and Mais Um Discos reached out to producers in London, Lisbon, New York, and Elza's hometown of Rio de Janeiro to create an album where the new school of cutting edge Lusophone producers -- and two legends from New York and London -- take Elza's music into new dimensions. From London there was only one man to go to for a remix -- DJ, broadcaster, label owner, and Elza's biggest fan, Gilles Peterson. Teaming up with Simbad they turn "Pra Fuder" into a percussive monster. Gilles on his contribution: "I played the album cut all 2016 and so needed a new version for this summer! An honor to work once again with my queen of grimy samba." Representing the future sound of Lisbon are Principe Discos, DJ Marfox adds his rapid-fire future-Afro-Lisbon polyrhythms to "Maria Da Vila Matilde", and Nidia Minaj turns "Pra Fuder" into a dark and moody warehouse rattler. Soundway Records' iZem gives
"O Canal" a trippy Arabic feel, whilst New York ambient guru Laraaji infuses the acapella "Coracao Do Mar" with his trademark celestial vibes. Rio de Janeiro bass-head Omulu sprinkles shards of funk-carioca to "Mulher Do Fim Do Mundo", Marginal Men and BadSista give "Firmeza" low-end wobble, as Caetano Veloso cohort Ricardo Dias Gomes washes "Solto" with synths and effects.
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MAIS 035CD
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Elza Soares returns with new remixes of tracks from her acclaimed The Woman At The End Of The World album (MAIS 031CD/LP, 2016). Mixing rock 'n roll, free-jazz, noise, and electronics, The Woman At The End Of The World was ripe for remixing and Mais Um Discos reached out to producers in London, Lisbon, New York, and Elza's hometown of Rio de Janeiro to create an album where the new school of cutting edge Lusophone producers -- and two legends from New York and London -- take Elza's music into new dimensions. From London there was only one man to go to for a remix -- DJ, broadcaster, label owner, and Elza's biggest fan, Gilles Peterson. Teaming up with Simbad they turn "Pra Fuder" into a percussive monster. Gilles on his contribution: "I played the album cut all 2016 and so needed a new version for this summer! An honor to work once again with my queen of grimy samba." Representing the future sound of Lisbon are Principe Discos, DJ Marfox adds his rapid-fire future-Afro-Lisbon polyrhythms to "Maria Da Vila Matilde", and Nidia Minaj turns "Pra Fuder" into a dark and moody warehouse rattler. Soundway Records' iZem gives
"O Canal" a trippy Arabic feel, whilst New York ambient guru Laraaji infuses the acapella "Coracao Do Mar" with his trademark celestial vibes. Rio de Janeiro bass-head Omulu sprinkles shards of funk-carioca to "Mulher Do Fim Do Mundo", Marginal Men and BadSista give "Firmeza" low-end wobble, as Caetano Veloso cohort Ricardo Dias Gomes washes "Solto" with synths and effects. CD version includes an additional remix from Kiko Dinucci and all 11 tracks of The Woman At The End Of The World.
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MAIS 034LP
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LP version. Dona Onete, "the grande dame of Amazonian song", returns with further tales from the river Amazon on her sophomore album Banzeiro. Whether she's championing gay rights, singing about the delights of indecent proposals, or praising a former lover for his "crazy ways of making love", Banzeiro is defined by Onete's honest reflections on life, love, sex as well as her delight in the everyday pleasures of life in the Amazon, whether that's spicy seasoning, salty kisses, or fishy-smelling water. Formerly a history teacher, folklore researcher, union representative, culture secretary and children's author, Onete recorded her debut album Feitiço Caboclo (2014) at 73. A cult figure in Brazil and an ambassador for Amazonian culture, the music she sings is a unique mix of rhythms from native Brazilians, African slaves, and the Caribbean - epitomized in the joyous carimbós that are her trademark. Born in the Amazonian region of Pará in 1938, Onete is a mix of native Indian from her mother's side and African from her father. She first started to sing after a chance riverside encounter: "I was washing clothes by the river and one day I saw a dolphin and sung for him. The next day I sang again, and two dolphins came, then a whole family!" A self-proclaimed "teenage-dreamer" who embraced music "because everything was forbidden by my parents", by the age of 15, Onete was singing in bars, yet her musical ambitions were soon crushed: "I was married at 22 and when I tried to sing at home my husband didn't like it so I had to stop." She became an ardent researcher of the rhythms, dances, and traditions of the Amazon's indigenous and black people, which inspired her to begin composing songs herself. Unable to sing at home, she began to incorporate her compositions in her work as a history teacher, using her songs to explain the history of the region to her students: "Nowadays indigenous people can be proud of their heritage but years ago this wasn't the case." In the early eighties, Onete quit teaching to campaign for workers' rights and following retirement in 1990 she became her region's Municipal Secretary of Culture from 1993-1996, a role she embraced: "I helped local musicians and local culture that people didn't value. I brought my culture to the fore". In the early 2000s, Onete's second husband encouraged her musical side and it was whilst singing at a friend's party in 2006 that she was overheard by a local band. Initially rejecting their offer to sing with them, she was eventually persuaded and soon became a local celebrity known for her risque lyrics. A debut album, Feitiço Caboclo, soon followed and her contemporary take on the music of Para was a critical success with Onete touring Brazil playing to crowds of thousands: "Traditional carimbó songs are about nature and tradition - I modernized it by singing about love and sex and taking influence from samba and pagoda." International critics were next to fall for this sassy, saucy, and sexy septuagenarian with Les Inrocks making the album one of their top five "world" releases that year. European festival performances followed in 2015, including a main stage spot at Womad UK, with a US tour taking in Chicago, Cleveland, and New York in September 2016. "Sometimes, when you think you've given all you've got, you realize that, in fact, you have a lot more ahead of you," she opines. "Banzeiro" is the wave that's created as boats pass through the water and with its pulsating saxophone riff, insistent guitar line, thundering percussion and Onete's charged lyrics the album title track, a banguê - raucous high-octane "Amazonian ska" - is a musical tsunami. Onete is at her most potent on "Na Linha Do Arco Iris" ("The Line Of The Rainbow"), a rallying cry of support for her LGBT fans. Inspired by a young gay man she knew who was afraid to come out, the lyrics are a call to "come out of the wardrobe, cross the line of the rainbow and be who you want to be." "Faceira" and "No Meio Do Pitiú" are joyous carimbós with the latter surely the only song to recount the charms of Pitiú - the fishy-smelling water that floods Belém's legendary fish-market Ver-o-Peso as the ice defrosts. "No Sabor Do Beijo" ("The Taste Of A Kiss") delights in recounting the different flavors a kiss can have: "hot, frozen, sweet, salty, bold . . . abusive", whilst "Lua Jaci" ("Jaci Moon") recounts a journey to a local island for a concert: "When I arrived they didn't have a soundsystem - they were very poor people. All they had was this huge, beautiful moon . . . Lua Jaci." The cumbia-influenced "Quiemoso E Tremoso" is about seasoning Onete invented that reflects the mix of people from Pará: "Quiemoso is a spice from the Africans that burns the mouth, jambu is a spice from the indigenous that makes the mouth tremble (tremoso), whilst the olive oil is from the Portuguese and holds it together." The boleros Onete offers provide respite from the heat of the tropical night and a welcome chance to drop the tempo. On "Coracao Brecho Onete" sings of how her heart has become a second-hand store (brecho) full of happy and sad memories whilst "Quando Eu Te Conheci" ("When I Met You") is a song even she was unsure of recording because of its risqué lyric "Eu adorei teu jeito louco, Muito louco, Muito louco, De fazer amor" - "I adore your crazy way, Very crazy, Very crazy, Of making love." Comes with Portuguese lyrics and English translations.
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MAIS 034CD
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Dona Onete, "the grande dame of Amazonian song", returns with further tales from the river Amazon on her sophomore album Banzeiro. Whether she's championing gay rights, singing about the delights of indecent proposals, or praising a former lover for his "crazy ways of making love", Banzeiro is defined by Onete's honest reflections on life, love, sex as well as her delight in the everyday pleasures of life in the Amazon, whether that's spicy seasoning, salty kisses, or fishy-smelling water. "Banzeiro" is the wave that's created as boats pass through the water and with its pulsating saxophone riff, insistent guitar line, thundering percussion and Onete's charged lyrics the album title track, a banguê - raucous high-octane "Amazonian ska" - is a musical tsunami. Onete is at her most potent on "Na Linha Do Arco Iris" ("The Line Of The Rainbow"), a rallying cry of support for her LGBT fans. "Faceira" and "No Meio Do Pitiú" are joyous carimbós with the latter surely the only song to recount the charms of Pitiú - the fishy-smelling water that floods Belém's legendary fish-market Ver-o-Peso as the ice defrosts. "No Sabor Do Beijo" ("The Taste Of A Kiss") delights in recounting the different flavors a kiss can have: "hot, frozen, sweet, salty, bold . . . abusive", whilst "Lua Jaci" ("Jaci Moon") recounts a journey to a local island for a concert: "When I arrived they didn't have a soundsystem - they were very poor people. All they had was this huge, beautiful moon . . . Lua Jaci." The cumbia-influenced "Quiemoso E Tremoso" is about seasoning Onete invented that reflects the mix of people from Pará. The boleros Onete offers provide respite from the heat of the tropical night and a welcome chance to drop the tempo. On "Coracao Brecho Onete" sings of how her heart has become a second-hand store (brecho) full of happy and sad memories whilst "Quando Eu Te Conheci" ("When I Met You") is a song even she was unsure of recording because of its risqué lyric "Eu adorei teu jeito louco, Muito louco, Muito louco, De fazer amor" - "I adore your crazy way, Very crazy, Very crazy, Of making love." Comes with Portuguese lyrics and English translations.
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2CD
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MAIS 033CD
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A compilation of new left-field pop, rock, folk, electronic, baile funk, noise and experimental music from artists born or living in Rio de Janeiro, the "Cidade Maravilhosa (the Marvellous City)". Real Rio is compiled by Chico Dub, the curator of Rio de Janeiro's acclaimed experimental music festival Novas Frequencias. Chico says: "The aim is to showcase the best of the independent music scene from Rio: rock, noise, house, drone, new styles of baile funk, Afro-beat, pop. We want to dispel the myth of a city dominated by easy listening bossa nova and show just how broad Rio's sound palette is". Disc one introduces artists such as Ava Rocha, Ricardo Dias Gomes, Negro Leo and Meia Banda who are creating national awareness of Rio's lo-fi alternative scene, whilst B Negão, Abayomy Afrobeat Orchestra and Andre Sampaio are at the forefront of a local Afro-influenced movement whilst veteran artists Elza Soares and Arto Lindsay are bringing elements of these scenes into the Brazilian music mainstream. On disc two Ceticências, Superficie and Eric Alves represent Rio's evolving downbeat electronic scene whilst Leo Justi, Marginal Men and Woo create twisted new club sounds influenced by baile funk and Cadu Tenorio, Bemônio and Chelpa Ferro push local experimental music into unexpected directions limits. Whilst the tracks included represent the new wave of Rio music, there are links to the older generation - Opala's Maria Luiza Jobim is the youngest daughter of Antonio Carlos Jobim (the Brazilian composer wrote the music for "The Girl from Ipanema"), Ricardo Dias Gomes played bass on Caetano Veloso's last three studio albums and Ava Rocha is the daughter of acclaimed "Cinema Novo" Brazilian film director, actor and writer Glauber Rocha. Real Rio is the fourth compilation from respected UK-based Brazilian label Mais Um Discos. Their compilations have re-defined the international view of Brazilian contemporary music scene with releases such as Oi! A Nova Musica Brasileira! (MAIS 001CD, 2010), Daora: Underground Sounds Of Urban Brazil (MAIS 016, 2013) and Rolê: New Sounds Of Brazil (MAIS 026CD, 2014). Real Rio is the latest chapter in Mais Um Discos quest to uncover Brazil's astonishing contemporary music scene. Comes in gatefold digipack. Edition of 1000 (hand numbered). Also features. Bruno Cosentino, Os Ritmistas, Lila, Seletores de Frequência, Otto, Os Afromandinga, Goma-Laca, Lucas Santtana, Benjão, Supercordas, Marginal Men, Omulu, Erica Alves, Ilustradora Carmen Alves, Carrot Green, Manara, Repetentes 2008, Jucara Marcal, Chinese Cookie Poets.
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MAIS 032CD
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Graveola's third album Camaleão Borboleta is fired with socially conscious lyrics concerning the power of the internet, native Brazilian-Indian struggles and issues around marijuana legalization. Graveola's unique brand of alt-pop sees tropicalia, samba, "rock Brasileira" and Brazilian folk rhythms cannibalize international genres to create strange hybrids they've labelled "psychedelic maracatu", "shamanic funaná", "weird salsa", "schizo-rock-fake-reggae" and "melancholic internet love ballad" - all examples of Graveola's "carnival cannibalism" approach to making music. Oddball arrangements recall Os Mutantes in their prime with naïve melodies, a hazy sensibility and Brazilian folk rhythms giving their music a distinctly Brazilian take on indie that ranks them as torchbearers of the new alt-tropical movement in South America, alongside acts such as Meridian Brothers and Juana Molina. The band has been heavily involved in recent "occupations" of government buildings against what they consider a coup in Brazil. Album opener "Maquinário" is a "psychedelic maracatu" (a rhythm from the north of Brazil) and a song about personal transformation where airplanes ask butterflies for the wind that makes them fly and vice versa. "Índio Maracanã" is a "shamanic funaná" (a Cape Verdean rhythm) inspired by the native Brazilian Indians who occupied the former native Indian museum in Rio in 2014 to try and prevent it being demolished in the lead-up to the World Cup. The group are joined by Samuel Rosa (Skank) on "Talismã", where the narrator lists various symbols that he encounters on a journey to personal freedom. "Tempero Segredo" is José Luis Braga's "tribute to all the herbs that increase levels of awareness". José also wrote "Sem Sentido" which features a mix of rhythms popular from the north of Brazil such as frevo and bolero and talks about the enabling power the internet offers people. "Aurora", "Costi" and "Back in Bahia" were written by Brina. She describes "Aurora" as "a sexy-Latin arrocha (Bahian rhythm) that's a love letter to the Spanish sea with a chorus in 12/8" and "Costi" as "a tribute to my Spanish cousin's 90 year old socialist and feminist grandmother". With a nod to the Gilberto Gil, "Back in Bahia" is, according to Luiza, a "collapsed bossa" that features polyrhythms from the Argentinian music style chacarera. Recorded in the band's hometown of Belo Horizonte under guidance from legendary Brazilian producer Chico Neves (Céu, Lenine) the six-piece have deliver their most electric, compelling work to date, a decade since their formation.
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MAIS 031LP
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Repressed; LP version. Septuagenarian Brazilian music icon Elza Soares teams up with the cream of São Paulo's avant-garde musicians for an album of apocalyptic, experimental samba sujo ("dirty samba") that tackles the burning issues of 21st century Brazil: racism, domestic violence, sex, drug addiction and global warming. The Woman at the end of the World is Elza's 34th studio album and her first to feature previously unrecorded material, exclusively composed for her. Voted "Best Album of 2015" by Rolling Stone Brazil after its domestic release, it will now be released worldwide by UK based label Mais Um Discos. Over a sprawl of distorted guitars, squalling horn, taught strings and electronic shards, samba is savaged by rock 'n' roll, free jazz, noise and other experimental music forms. A true legend of Brazilian music Elza has an incredible musical oeuvre that stretches back over seven decades mixing samba with jazz, soul, funk, hip hop and electronica, whilst her life story is a rags-to-riches-to-rags rollercoaster of triumphs and tragedies that has made her a voice for Brazil's repressed female, black, gay and working class populations. Her music career began in the late 1950s as she sung in clubs and hotels, sometimes being forced to perform off stage because of her skin color. The '60s was a career defining period with a run of classic albums for Odeon. After decades of hardships and artistic exploration, her latest muse is São Paulo's hyped samba sujo scene. Soares presents an album that walks a tightrope between post-rock and post-samba. "I knew this album would be a bold, modern sound" she says. "These songs are tense they do not allow you to relax". The album opens with "Coracão do Mar (Heart of the Sea)" with Elza reciting a poem from celebrated Brazilian modernist poet Oswald de Andrade. Title track "Mulher do fim do Mundo" uses carnival as a metaphor for the apocalypse and according to composer Romulo Froes "translates Elza's strength and indestructability". With The Woman at the End of the World, Elza forces the joy and sadness that personifies samba to confront the dirty truths of modern day São Paulo.
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MAIS 031CD
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2017 repress. Pitchfork: 8.4 -- Best New Music. Septuagenarian Brazilian music icon Elza Soares teams up with the cream of São Paulo's avant-garde musicians for an album of apocalyptic, experimental samba sujo ("dirty samba") that tackles the burning issues of 21st century Brazil: racism, domestic violence, sex, drug addiction and global warming. The Woman at the end of the World is Elza's 34th studio album and her first to feature previously unrecorded material, exclusively composed for her. Voted "Best Album of 2015" by Rolling Stone Brazil after its domestic release, it will now be released worldwide by UK based label Mais Um Discos. Over a sprawl of distorted guitars, squalling horn, taught strings and electronic shards, samba is savaged by rock 'n' roll, free jazz, noise and other experimental music forms. A true legend of Brazilian music Elza has an incredible musical oeuvre that stretches back over seven decades mixing samba with jazz, soul, funk, hip hop and electronica, whilst her life story is a rags-to-riches-to-rags rollercoaster of triumphs and tragedies that has made her a voice for Brazil's repressed female, black, gay and working class populations. Her music career began in the late 1950s as she sung in clubs and hotels, sometimes being forced to perform off stage because of her skin color. The '60s was a career defining period with a run of classic albums for Odeon. After decades of hardships and artistic exploration, her latest muse is São Paulo's hyped samba sujo scene. Soares presents an album that walks a tightrope between post-rock and post-samba. "I knew this album would be a bold, modern sound" she says. "These songs are tense they do not allow you to relax". The album opens with "Coracão do Mar (Heart of the Sea)" with Elza reciting a poem from celebrated Brazilian modernist poet Oswald de Andrade. Title track "Mulher do fim do Mundo" uses carnival as a metaphor for the apocalypse and according to composer Romulo Froes "translates Elza's strength and indestructability". With The Woman at the End of the World, Elza forces the joy and sadness that personifies samba to confront the dirty truths of modern day São Paulo.
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MAIS 027CD
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A vibrant blend of Paraense folklore, carimbó, boi bumba, Caribbean salsa, brega, samba, and even rap, all rooted in the cultures of the Brazilian interior, this phenomenal debut album from Amazonian septuagenarian songstress Dona Onete has been over 60 years in the making and almost never happened. Sitting on the banks of the Amazonian river in the small town of Igarapé Miri as an 11 year-old, singing sambas, quadrilhas, and boi bumbas to the river dolphins, Dona Onete could have scarcely imagined she'd be seeing the worldwide release of her debut album at the age of 73. While not pursuing music as a career when growing up, Onete's heart remained invested in it. Becoming an expert in the rhythms, dances and traditions of the Amazon through her university studies, she'd go on to become Municipal Secretary of Culture of her hometown Igaparé-Miri. Completely enveloped by Amazonian culture and with her latent talents as a singer, Onete began to compose music for herself. Amassing a collection of over 300 original songs throughout her years, it wasn't until she retired that her musical career took off. Moving to the quiet area of Pedreira in Belém to while away the rest of her days with her husband, Onete inadvertently moved onto a street where popular Brazilian band Coletivo Radio Cipó lived. The band, hearing Dona perform at a local carimbó party, initially thought they were listening to a much younger singer -- due to Onete's vivacious and flirtatious flair, along with her penchant for a cheeky lyric or two. But when they caught sight of her, they were astounded. Knowing they'd stumbled upon someone truly special, the band instantly invited her to sing on their forthcoming album. Onete took some convincing, but eventually relented, a decision that would lead to her recording as an artist in her own right and see her audience of river dolphins on the banks of the Amazon transform into the people of the cities of Brazil, and soon the world.
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MAIS 028CD
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Celebrated Brazilian songwriter-producer-multi-instrumentalist Amabis, who produced Rita Redshoes' album Life Is a Second of Love, proves beyond any doubt on his latest release Trabalhos Carnivoros that he can now add vocalist to his list of musical talents with this assured masterpiece of atmospheric, stripped-down cinematic folk where his vocals take center stage. With his previous album Memorias Luso/Africanas featuring vocals from Lucas Santtana, Criolo, Céu and Tulipa, it was a brave move by Amabis to shoulder all vocal duties himself, yet he does so with aplomb, and his melancholic delivery is the perfect foil to the spooky reverbed guitars, echoing silence and rhythmic claustrophobia that he and his long-term musical partner Regis Damasceno have crafted. Mostly known for his production work -- famously on Céu's acclaimed second and third albums Vagarosa and Caravana Sereia Bloom -- Amabis has also worked on soundtracks for both Brazilian TV (City of Men) and Hollywood (Lord of War, Collateral) and is an in-demand musician who's featured on records by Rodrigo Campos, Curumin and Lucas Santtana. Alongside Céu, Rica Amabis and Dengue And Pupillo (Nacao Zumbi) he recorded Sonantes, released by Six Degrees.
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2CD
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MAIS 026CD
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Having established itself as the go-to label for discovering the real sounds of contemporary Brazil with the acclaimed compilations Oi! A Nova Musica Brasileira (MAIS 001CD) and Daora: Underground Sounds of Urban Brazil (MAIS 016CD/LP), Mais Um Discos returns with a new compilation of the freshest tunes from the bars, clubs, venues and streets of the nation the world's eyes are all on. "Rolê" translates as "let's roll" in Brazilian Portuguese and Mais Um Discos' label-head Lewis Robinson (aka Mais Um Gringo -- "one more gringo") rolled around 10 Brazilian states including Rio de Janeiro, Bahia, Amazonas, Rio Grande do Sul, São Paulo, Minas Gerais, Brasília, Pernambuco, Pará and Santa Catarina to pull together these 43 tracks. CD1: Disc Um shows 22 very different artists defining their own styles and defying any stereotypes of Brazilian music -- from the dub-tronics of the innovative Lucas Santtana to the angry indie-rock of Apanhador Só, Madame Rrose Selavy's "bossa-punk," Graveola's "carnival-cannibalism" and the funky-frevo of Juliana Perdigão. CD2: Disc Dois heads into the club, showcasing the new wave of post Baile-funk Brazilian dance music -- the cutting-edge axé bass beats of Som Peba, techno-lamabda of Strobo and electro-treme of Gang Do Eletro. A nod to the old school comes from Lia Sophia, who offers up a slinky slice of nova-brega, Zulumbi with their rousing hip-hop funk, Dona Onete, who introduces us to the sound of carimbo-chamegado, Meta Meta, joined by Tony Allen for some Afro-punk-beat, and Bixiga 70, who drop a heavyweight slice of guitarrada-Latin-funk. All the artists featured mix Brazilian and "international" styles to create progressive new Brazilian music that shatters stereotypes and shows that the Brazilian music scene is as diverse and exciting as that of the UK or U.S.
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MAIS 018CD
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Metá Metá's sophomore album and debut for Mais Um Discos MetaL MetaL launches itself from the ancient chants of the orixás into a dirty brew of psychedelic samba, distorted jazz and Afro-punk. The band is formed from a trio of São Paulo's most sought-after musicians -- vocalist Juçara Marçal, saxophonist Thiago França and guitarist Kiko Dinucci -- and features Afrobeat legend Tony Allen. Followers of the Afro-Brazilian religion Candomblé, Marçal, França and Dinucci mix these spiritual and rhythmic foundations with influences ranging from Afrobeat to Afrosambas, punk rock to be-bop to create chaotic, effervescent music that explodes with the rage of The Stooges and Sonic Youth, the spirituality of John Coltrane and Sun Ra and the wild, avant-garde instrumentation of contemporary experimental jazz outfits such as Melt Yourself Down and Polar Bear.
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MAIS 017CD
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Rio's samba super-group Orquestra Imperial make their eagerly-awaited return with a new album on Mais Um Discos -- Fazendo as Pazes Com o swing ("Making Peace with the Swing") -- a majestic offering of gafieira samba shot through with a psychedelic twist of rock guitar riffs, salsa, bolero, maracatu, and more. The Orquestra line-up is like a who's-who of Rio's most sought-after musicians: the inventors of post-Tropicalia, formerly signed to David Byrne's Luaka Bop, Kassin, Domenico and Moreno Veloso (Caetano's son); member of Devendra Banhart's live band and founder (with Fabrizio Moretti of The Strokes) of rock super-group Little Joy, Rodrigo Amarante (who releases his debut solo album on Rough Trade Records, France, in early 2014); Brazilian soap opera queen & vocalist Thalma de Freitas, plus legendary percussionist Wilson das Neves, to name but six. Taking their main inspiration from gafiera samba, the genre that set the Rio clubs on fire in the early 20th century, the group updates the sound with post-Tropicalia zest. However, though treading well-established territory, all 20 of the band's members are keen to stress they are no Buena Vista Social Club, and more readily identify with the progressive nature of bands like Ondatropica, Will Quantic's Colombian supergroup. The group previously wowed critics and audiences with their debut album Carnaval Só No Ano Que Vem, which they toured throughout the UK and Europe. Their live shows have featured everyone from Brazilian legends such as Seu Jorge and Caetano Veloso to Gruff Rhys, Jane Birkin, Jean-Claude Vannier (who directed the band in a special Serge Gainsbourg concert), The Bees and Chrissie Hynde.
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MAIS 009CD
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Mixing northeastern Brazilian rhythms, rock 'n' roll, and romantic Brazilian "brega" music with African influences such as '70s Senegalese guitar music and Congotronics, Siba is a man who joins the dots between his life, his culture and the rest of the world. Marrying his well-crafted and hard-earned lyricality with both new and old influences, Avante sees Siba's languorous vocal and sinuous guitar playing intertwine beautifully with tuba, vibraphone, and drums to create a dynamic album of experimental "alt-tropical" folk-rock. He was a pioneer in the mangue-beat revolution of the late '90s that took Chico Science and Siba's own band, Mestre Ambrosio -- previously signed to Sony Music Brazil -- across the globe; he's lived the life of a struggling Maracatu poet singing improvised verses long into the night in the harsh Brazilian interior of Zona da mata and redefined contemporary Brazilian roots music with his folk orchestra Siba e a Fuloresta, and now, turns a new page as a tropical rocker with a collection of songs hailed by Brazilian critics as one of the Brazilian albums of 2012. Avante documents a very personal journey -- "In Nazare da Mata I began to feel the need to connect other stuff that was in my mind. I could not see myself as only a poet there and I had to deal with other things happening in my life" -- so he left the interior to travel to the megalopolis of São Paulo and begin work on what would become Avante.
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2CD
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MAIS 016CD
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Daora is a 2CD collection of the freshest hip-hop, leftfield beats, Afro-beat, and dub-influenced sounds from Brazil. Compiled by respected São Paulo beat-head Rodrigo Brandao -- who has collaborated with members of The Roots, Afro-beat master Tony Allen, producer Prince Paul (De La Soul), and artists from the Ninja Tune and Big Dada stables -- it features 32 tracks that represent the musicians, MCs, and beat-heads making some of the most thrilling urban music in "the alternative lanes of Brazil's third world megalopolis." Rodrigo explains: "Blending both the foundations of boom-bap and Brazilian rhythmic and melodic heritage, Daora (São Paulo street-slang for something that's 'f*cking cool') is an introduction to the most cutting-edge beat culture plus percussive-oriented music coming out of Brazil today." Rodrigo Brandao is one of the Brazilian beats movement's most respected generals whose career has been pegged to the scene he loves. An in-demand producer, collaborator and MC, he's been crowned the official MC of the Zulu Nation, Brazil by none other than the father of hip-hop, Afrika Bambaataa. He rose to fame in Brazil as one-half of acclaimed Brazilian hip-hop pioneers Mamelo Sound System and, alongside Mike Ladd and Scotty Hard, recently featured on Ropeadope's acclaimed Brazilian-US collaboration Ekundayo. He has brought international acts like De La Soul, Mos Def, and Talib Kweli to São Paulo and Brandao's mission is to discover and join the dots between Brazilian music and its American and African families.
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MAIS 013CD
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Post-tropical polyphonic populists from Minas Gerais in Brazil, Graveola draw influence from kitsch pop radio and dusty classical vinyl to create a sound they call "carnival-cannibalism." On Eu Preciso de um Liquidificador, Graveola mix the canon of 20th century Brazilian music -- in particular samba, bossa, tropicalia and the folk stylings of Minas Gerais' most famous son Milton Nascimento -- with folk, jazz, funk, Latin, baroque and blues influences to create a joyfully exuberant set which brings to mind the playful psychedelic pop of the legendary Os Mutantes. Graveola combine these influences within arresting arrangements, while swooning harmonies, buzzing melodies and hooks-a-plenty ensure that this is a "pop" album of the quirkiest order. The band emerged from Belo Horizonte University in 2004, originally as a trio mixing classics of Brazilian music with pop songs and, according to founder Luiz Gabriel Lopes, finding inspiration in "lyricism, debauchery and TV jingles." At that time, their lack of instruments and musical training led them to incorporate household goods and toy instruments into their sound, hence their full name Graveola e o Lixo Polifônico ("Graveola and the Polyphonic Garbage.) Around 2005 and 2006, new members joined, their numbers swelled and their sound blossomed, and by 2008 they were ready to record their debut album. Eagerly welcomed by the Brazilian music press, the band performed many shows around Brazil and went to Europe for shows in autumn 2012. Mais Um Gringo, the head of Mais Um Discos, recalls seeing Graveola for the first time in Belo Horizonte in 2010: "Their performance blew me away -- a perfect storm of chaos and groove, with six, seven, maybe eight members on stage performing pop vignettes that morphed into baroque jazz pieces then rock freak-outs -- intoxicating stuff."
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MAIS 014CD
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With his new album The God Who Devastates Also Cures, Lucas Santtana follows up 2011's highly-acclaimed Sem Nostalgia, and its recent complimentary remix counterpart. In the best traditions of Blood On the Tracks or Here My Dear, Lucas here delivers an artistic triumph based on the highly personal back story of a relationship's demise. With trademark versatility and skill, he again offers a technicolor masterpiece of international alt-pop, blending Afro-beat-tinged electro-rock, soaring symphonic ballads and stuttering Amazonian-reggaeton with head-nodding breakbeats and horn-led ska.
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MAIS 008CD
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Following a show-stopping collaboration at the 2010 edition of the Brazilian festival Back2Black, Toumani Diabaté invited Brazilian songwriter, poet and artist Arnaldo Antunes and guitar hero Edgard Scandurra to Mali to record with him. The resulting album A Curva Da Cintura is now presented on London-based Brazilian imprint Mais Um Discos. Arnaldo and Edgard arrived in Mali in April 2011 with a collection of songs they had written together. With Malian musicians they combined rock 'n' roll, African roots and blues to create an uplifting Afro-Brazilian fusion that celebrates the spirit of collaboration and connects Mali and Brazil in a way that blurs geographical and musical boundaries. As one of the most influential African musicians of the 21st century, Toumani Diabaté needs no introduction. The 71st generation of his family to play the kora, he has released over 10 solo and collaborative albums, winning the "Best Traditional World Music Album" at the Grammys in 2010 and 2011. Arnaldo Antunes is a legendary Paulistina (native of São Paulo) who rose to fame in the early '80s as the driving force behind Titas, one of Brazil's most influential and popular rock groups of the '80s. Since leaving them, Arnaldo continues as a successful solo artist, internationally-respected poet and serial collaborator working across music, literature, dance and audio-visual media. Edgard Scandurra is a Paulistina guitarist, composer and singer who was a founding member of Ira!, one of the most important contemporary Brazilian rock groups. Listed as one of the "100 Greatest Brazilian Artists" by Brazilian Rolling Stone, like Arnaldo, he's a regular collaborator with the new generation of Brazilian musicians. Toumani's sublime kora playing is the perfect contrast to Arnaldo's somber almost mechanical voice and adds a poignancy to ballads such as "Grao De Chaos," "Psiu" and Toumani's composition "Kaira." With Toumani leading the ballads, his son Sidiki features on the album's more lively numbers. His rapid kora-playing intertwines with Edgard's guitar to propel both the title track and "Cara" forward, while the opening track sees him modulating his kora with wah-wah, proving he has the pioneering spirit of his father. Also featured is Afro-Cubism band member Fode Lassana Diabaté on balafon and Zoumana Tereta, who adds his guttural soku fiddle-playing and vocals to show that there's as much reason to believe the blues came from the Niger Delta as Mississippi. Housed in a deluxe 6-panel digipack.
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MAIS 003EP
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Equal parts Tom Zé, Four Tet and Thom Yorke, Lucas Santtana is one of Brazil's most interesting, dynamic and experimental producers and singers. Santana's sonic explorations draw on influences as wide-ranging as dub, bossa nova and electronic music. This instrumental-only single acts as a primer for the release of the 12 track album Sem Nostalgia, which features a slew of haunting ballads and glitch percussive workouts, rightfully bringing Brazilian music back into the 21st century.
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MAIS 002CD
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Equal parts Tom Zé and Thom Yorke, Lucas Santtana is one of Brazil's most interesting, dynamic and experimental singer-songwriter/producers. He is the first artist signing to new UK-based Brazilian record label Mais Um Disco, who's much-acclaimed debut release Oi! A Nova Musica Brasileira charted a sonic snapshot of the most exciting new Brazilian music. With the help of long-term songwriting partner Arto Lindsay, Lucas has breathed new life into the Brazilian music institution that is "voz e violão." To achieve different sonic results, the tracks were co-produced by Lucas and collaborators. Berna Ceppas is responsible for the atmospheric and minimalist mood of "Nature #1 In Mi Maior" and "Hold Me In," where the noise of a missed note echoes through the space, as if on purpose. "Who Can Say Which Way" was produced by Chico Neves, and so was "Ripple Of The Water," recorded late at night, inside the woods of Rio De Janeiro's Botanical Gardens. Gustavo Lenza and Lucas Martins produced the sound collages of "Super Violão Mashup" while "king-of-the-mash-up" DJ João Brasil produced the sounds for the frenetic "Violão De Mario Bros." Buguinha Dub lent his effects to "Amor Em Jacumã" and "Cira, Regina E Nana," as did Rica Amábis in "Recado Pro Pio Lobato." Arto Lindsay, Lucas Santtana's usual partner, co-wrote "Hold Me In," "I Can't Live Far From My Music" and the beautiful, '70s-infused "Night-Time In The Backyard." When the concept overshadows the music, a conceptual record can be in danger of needing an instruction booklet in order to make any sense, yet this is not a threat here. Sem Nostalgia stands on its own, independent from the concept that built it.
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