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viewing 1 To 8 of 8 items
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2LP
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RUP 021LP
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24 iconic songs, with a focus on the theme of love songs (A and B side) as well as social political songs (C and D side), highlighting the emotions that this music brought to the popular working classes of Lima, nationwide and the diaspora. More than 30 years later, these songs continue to resonate like the mirror of a country that was reborn but this time is looking at itself and its own identity. From the mid-1960s onwards, there was a unique moment of fusions in Peruvian culture brought about by Andean migration from the countryside to the city which gave rise to adaptations and intercultural mixing. The culture and music they brought created the powerful genre of Andean tropical cumbia, via electric instruments and arrangements along with modern, popular pop sounds. Peruvian "chicha" cumbia is the music born in the "barrios bajos" (slums), alleys, hills, and the peripheries of Lima on the coast and cities on the edge of the Andes mountains in the late '70s and '80s. The true new Peruvian sound was not played with folk instruments but with guitars and timbales. In the '60s and '70s Peruvian tropical music was characterized by psychedelic hybridity and instrumentals for mass delight, by the mid-70s the appearance of a "class consciousness" and therefore a subaltern narrative. "Chicha" is perhaps the genre that has most emphasized its pride in being proletariat, itinerant, provincial, and hardworking. Founded in Lima by Juan Campos Muñoz, a businessman, dreamer, and also a lover of music, Discos Horóscopo was a label company on the margins of the official Peruvian music industry. Learning the ins and outs of capitalism in the '80s was hard because it was the decade where the wildest neoliberal policies and the most extreme Maoist sendero luminosa revolt began simultaneously. On Juan Campos's end, it was the moment to initiate this new venture of Chicha music, which would allow Chicha to emerge symbolically (and then economically) to a new social class composed mostly of migrants, landless peasants, and proletarians without a factory. Between 1977 and 1987, the Discos Horóscopo label produced the largest wave of Andean tropical cumbia in the world; Chicha, a reference to the fermented alcoholic drink from the Andes. The label was filled with contemporary icons such as Chacalón y La Nueva Crema, Los Shapis, Pintura Roja, Los Ovnis, Grupo Alegría, and other cult groups. Together they created a unique style with the capacity to talk about both love and uprooting, unemployment, struggle of classes, internal violence and impossible loves. Features Chacalón y La Nueva Crema, Pintura Roja, Los Shapis, La Mermela'da, Grupo Halley, Los Ovnis, Grupo Maravilla, Los Orientales de Paramonga, Pepito Y Su Grupo Mazamorra, Los Destellos, Grupo Alegri'a, Los Ecos, and Grupo Celeste. Gatefold sleeve; includes 12-page booklet with liner notes, lyrics in Spanish/English; includes download code.
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10"
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RUP 013LP
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Instrumental-experimental-tropical quintet Satanique Samba Trio, known for its iconoclastic research in Brazilian traditional rhythms, is pushing the envelope on the low fidelity field once again! 10" Mais Bad is a conceptual sequel to Mó Bad (2015). Mais Bad is a new collection of low fidelity bagatelles, forged into existence by Satanique Samba Trio's thirst for aesthetical deconstruction. All instruments in this ten-track album have been recorded with the same cheap cell phone from the early 2000s. It is meant to sound desperate, harsh, and absolutely surreal. A little over the top, maybe? Yeah, but hey: that's just how a country in crisis should look and sound like, right? Greetings from Brasília, Brazil! Personnel: Munha da 7 - electric bass and regency; Gustavo "Don Chavez" Elias - acoustic guitar; Jota Dale - Cavaco; Lucas "Sombrio" Muniz - bass clarinet; Lupa Marques - drums.
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LP
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RUP 012LP
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Field Recordings, carefully chosen percussion, electronic spice, and acoustic ingredients; this is the foundation for every recipe that Bolivian-Belgian artist Suso Perez (aka Susobrino) creates. In 2018, he presented his debut EP Mapajo; since then he has won several awards at the Red Bull Elektropedia Awards of Belgium. He introduced his creations to numerous festivals in Belgium and abroad. La Hoja De Eucalipto brings alive a more energetic and aggressive part of Susobrino -- a work focused on ethnic and world sounds, mixing his masterful percussion with electronic beats to create a unique and distinctive sound. On this album Susobrino created a story of five beings looking for answers in their individual lives. The first track, "La Hoja de Eucalipto" is the ceremony right before the journey. It's a three-part composition to set the tone of the entire album: question, answer and interpretation. "Despertar" (wake up in Spanish) is the realization of the journey; the guitar interprets the rain as a cleansing force. "La Marcha" is the physical start of a long journey -- they will be walking for days, weeks, or even months. The exciting, courageous travelers leave their families and friends and head towards unknown lands that they never dared to enter. Many days of walking pass and they reach a new habitat: a dense jungle. This brings tension and fear out of the five travelers. Everyone gets separated from each other and they question the likelihood of getting out of the unknown jungle. Eventually, the five beings survive the unknown jungle. Exhausted and lost, they keep walking with no idea where to go. That's when they stumble upon "Polahimán". A mysterious entity who's very eager to help and knows exactly where they have to go. With riddles and poems, he gives them directions. "El Desierto de Pazmancú" represents a new habitat, an endless dessert. Yet, the beings are refilled with courage, crossing the entire dessert. That's where Polahimán is waiting for them. "El Enfrentamiento de Polahimán". This is the end boss; the final chapter. The five grown travelers find themselves facing many challenges. This is where the listener, can interpret if it's a good or bad ending. Or an open ending? Susobrino plays and records everything in his humble studio in Belgium. Percussion, quena (flutes), guitar, charrango, field recordings and a Yamaha DX9. RIYL: Chancha Via Circuito, Nicola Cruz, and Dengue Dengue Dengue.
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LP
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RUP 011LP
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Singer, lyricist, and composer Nirox Romão, aka Diron Animal, was born and raised in Cazenga, Angola. Diron Animal's involvement in the music world began early: he was part of a traditional Angolan music band and capoeira group, followed by a hip-hop project. In 2007, he moved to Portugal to study, but music became more than just a passion when he landed in kuduro. For over six years, he sang, danced, and traveled the world with Afro Portuguese act Thoes + The Shine, mixing rock and kuduro, becoming an explosive ensemble. At one moment, Diron wanted to record a solo album to show a bit more of his own personality and in late 2017 his debut album Alone appeared on Soundway Records (SNDW 123LP), where he himself worked out the melodies, rhythm, vocals and even the guitar parts between classic funk to Afrohouse and kuduro bass. Through that album he explored major festivals in Europe during 2018, such as at Paléo Festival Nyon, Trans Musicales Festival, Amsterdam Dance Event, and others. On Pair, his second album and released on Brussels outer-national label Rebel Up Records, he has worked hard to enhance his special formula. Inspired by the cruel death his nephew, it became a testament against oppression via the mixed sounds of Afro boogie, disco, funk, Afrohouse, coupé décalé, and kuduro, with English and Portuguese lyrics. The first single of the album, "You and Me", is an English sung Afro boogie disco song and produced by Diron with the support of musician and producer Moullinex, actor André Cabral, and video made by director Vasco Mendes. In the video, featuring dancer and actor André Cabral, Diron Animal takes on the role of a gay man to express that a homosexual is a normal person who loves, feels desire, dreams, conquers, wants to be loved and desired, wants to live next to a being that completes him. With "You and Me", Diron Animal above all wants to appeal to society, respect for the choice of people and non-discrimination of sexual choices. For in life we all deserve to be happy regardless of our sexual choice. Includes download.
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LP
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RUP 008LP
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Octa Push's Língua will be released as limited edition vinyl on Rebel Up Records for the first time since its original release in 2016 on the band's Combatentes home label. Octa Push is a Portuguese duo formed by brothers Leo Leoleo and Mushug that fuses Lusophone music (Angola, Bissau, Brazil, Cape Verde, Mozambique, Portugal, Sao Tomé) with electronic sounds. Língua is the second full-length album of Octa Push and features guests such as Tó Trips (Dead Combo), Batida, Cachupa Psicadélica, Cátia Sá (Guta Naki), Maria João Grancha, Ary (Blasted Mechanism), João Gomes (Orelha Negra, Fogo Fogo), Braima Galissa, Alex (Terrakota), AF Diaphra, and Gospel Collective, among others. The record, almost entirely in the Portuguese language, is a tribute to the Lusophone music that has been made in the last 40 years. Electronic music meets semba, morna, funaná, Afrohouse, and even Brazilian music. The record opens with the title song "Língua", rhythmically inspired by semba, it features the sharp vocals of Cátia Sá, the hypnotic kora of Braima Galissá, and the guitar of Alex from Terrakota. In "Cueca", Maria João imposes all of her vocal expressiveness on top of a heavy bassline and shows why she's one of the biggest Portuguese jazz references. In the same heavy bass tone, "Trips Makakas" introduces the Portuguese guitar of Tó Trips from Dead Combo into a dense electronic sound. "Gaia Cósmica" has hints of Brazilian grooves, featuring the guitar and deep vocals of Cape Verdean pop legend Cachupa Psicadélica, and also funky keys provided by João Gomes, member of bands like Fogo Fogo, Orelha Negra, and cult band Cool Hipnoise. The rhythm increases in "Fogo", in this funaná inspired song, Kenyan Isaac Anyanga and Cátia Sá provide the vocal hook while Alex Terrakota shows his amazing guitar skills, newcomer AD2 raps about the Cape Verdean island of Fogo. "Xilofone Teteté" is a xylophone driven electronic track, while Mana is the Afrohouse approach by the duo together with kuduro rapper Bruno do Show. In Barbara the rhythmic energy balances with moments of calm and it's where Cátia Sá's vocals shine the most. It also features Batida, Alex Terrakota, and Ary. "LGS-LX" has Nigerian talents Afrologic and Temi collaborating with rapper AF Diaphra. The closing track is a heavenly cover of a song by the Portuguese icon Zeca Afonso and features the Gospel Collective. Includes download.
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LP
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RUP 009LP
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Berlin based, Jerusalem pioneer Roi Assayag, aka Tropikal Camel, serves up his fantastic new album, Awakening Spirits on Brussels based label Rebel Up Records, distilling 20 years of musical experience. The album title Awakening Spirits is a wordplay: in Hebrew & Arabic, winds, spirits, and ghosts are the same word: Ruaah. This title is polysemic: spirits are representing the mystic research that is eternal, winds are representing drama and conflict, ghosts are the voices from the past... the word awakening symbolizes the future. Makom in Hebrew, Maqam in Arabic, which means "place" but is also the name of the melodic system of Arabic music, theory which Roi Assayag has taught himself from YouTube tutorials, trying to deepen his connection with the melodies that opened his soul. In those quarter tones he found the drama that he is so connected to. One that is making him feel home. As Tropikal Camel he casts a spell over audiences from Europe to Africa through the Middle East by blending percussion with a psychedelic edge at places like Nuits Sonores and Nyege Nyege. It is a sound that draws on his Middle Eastern and North African heritage and heads into the future. In the artist's unique way, he fuses elements into a special blend of driven bass, deep pads, and chopped chants for a musical journey that continues on this spellbinding new offering. Deeply moving opener "Deja Groove" immediately sinks you into an enchanting world of percussive flurries and weightless beats, a ballad of longing to a lost love, was written in dark times with a glimmer of hope. "The Spirits" is a sparse and intoxicating brew of churning drums and Syrian Sufi chanting, influenced by music of Aleppo in Syria. Sufi music has a mystic quality, opening the heart and cleansing the soul. This track is in Maqam Sabah, a modus that is representing youth and the process of maturity. "Waves" is a loose and languid mix of lurching grooves, traditional percussion and edgy synth drones that trap you in a trance. The pressure then builds again with the clattering drums and hits of "Zachotronic". The excellent "Beeehave" slips into darker, almost techno leaning territory. It's about being wild, not giving a fuck, in a club in Berlin, high! "Seashells" mixes all of the above into an electrifying trip through world sounds that brings plenty of new influences to the dancefloor.
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LP
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RUP 006LP
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Iraqi band Babylon Trio from Brussels plays an electrified rave-y mix of contemporary Iraqi and Arabic music styles, such as choubi choubi, dabke, maqam, and electronic hybrids that set the dance floor on fire. Their debut album Habibi features songs about their old life in Iraq and new life in Brussels, with topics such as separation from loved ones, love, beauty, honor and pure Arabic party bangers. 2018 will mark the power of the contemporary Iraqi street sound of Babylon Trio throughout Belgium, Europe and beyond.
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LP
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RUP 007LP
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After years of playing with the Moroccan community of Brussels, music maker and jazz musician Luc Mishalle knows every trick of the cross-fertilization of gnawa music, jazz, and brass. Gnawa is the northern African Islamic sufi music with healing vibrations and spiritual lyrics, played by the descendants of African slaves. Beats & Pieces is a collaboration with Belgian percussionist Roel Poriau (Think Of One, Antwerp Gipsy-Ska Orkestra), Tunisian electronic producer Sofyann Ben Youssef (Ammar808, Kel Assouf), and Moroccan-Belgian gnawa master Maalem Driss Filali. "The album is significantly less 'jazz' than past collaborations with Byron Wallen and Trevor Watts," explains Mishalle. "It's based on gnawa songs I transcribed and arranged together. Half of the songs contain vocals, which makes it more radio-friendly." There are also fragments of Beninese traditional music, which brings about another thread through the album: trance. One can find it in gnawa music and even more in Benin, the cradle of voodoo. "Trance music aims to create obsession through constant repetition. We kept the essence of that music, adding jazz and brass colors"; Mishalle finds these musicians in Brussels, and together they search for the sound of this city known for its hyper-diversity. "Brussels' context is unique, in Belgium and beyond. Our metropolis has quirky vibrations. To catch them, you have to fully submerge."
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