Cerca:leonardo

"‘One of the most exciting composers alive.’ – Daily Telegraph

Nonesuch will release the original score for Ken Burns’s new two-part documentary, LEONARDO da VINCI, with new compositions by Caroline Shaw; the documentary airs on November 18 and 19 on PBS. The album features performances by the composer’s longtime collaborators Attacca Quartet, Sō Percussion, and Roomful of Teeth as well as John Patitucci. Shaw wrote and recorded new music for LEONARDO da VINCI, marking the first time a Ken Burns film has featured an entirely original score.

In celebration of LEONARDO da VINCI, New York City’s historic venue The Town Hall presents an evening of performances from Shaw’s score by Attacca Quartet, Sō Percussion, and Roomful of Teeth on October 29. The filmmakers will also preview excerpts from the four-hour film..

LEONARDO da VINCI is directed by Ken Burns, Sarah Burns, and David McMahon. The film, which explores the life and work of the fifteenth century polymath Leonardo da Vinci, is Burns’s first non-American subject. It also marks a significant change in the team’s filmmaking style, which includes using split screens with images, video, and sound from different periods to further contextualize Leonardo’s art and scientific explorations. LEONARDO da VINCI looks at how the artist influenced and inspired future generations, and it finds in his soaring imagination and profound intellect the foundation for a conversation we are still having today: what is our relationship with nature and what does it mean to be human?

“No single person can speak to our collective effort to understand the world and ourselves,” said Ken Burns. “But Leonardo had a unique genius for inquiry, aided by his extraordinary skills as an artist and scientist, that helps us better understand the natural world that we are part of and to appreciate more fully what it means to be alive and human.”

“To help give depth and dimension to Leonardo’s inner life, and to carry our viewers on his personal journey, we enlisted the composer Caroline Shaw,” McMahon says in the album’s liner note. “Caroline’s existing body of music—joyful, daring, at times transcendent, and wholly unique—seemed to speak directly to Leonardo, a seeking soul who, 500 years after his death, can come across as strikingly modern. A fully original score, we believed, would add crucial connective tissue to areas where the record of Leonardo’s life is thin and it’s possible to briefly lose his trail. The music Caroline created is dynamic, enthralling and filled with wonder.

“This soundtrack is a testament to the inspired efforts of Jennifer Dunnington, who marshaled it into being, the brilliant musicians and vocalists who, with the help of Alex Venguer, Neal Shaw, Colton Dodd and Tim Marchiafava, made it soar, and most of all Caroline Shaw, who might be Leonardo’s soulmate from across time,” he continues. “With her help, the Leonardo who emerges is no wizard shrouded in mystery, but a prideful, obsessive, at times lonely or flustered, occasionally ecstatic, and, in the end, content man who is in ways both modern and thoroughly of his time.”

“As we set out to explore Leonardo’s life, we realized that while he was very much a man of his time, he was also interested in something more universal,” said Sarah Burns. “Leonardo was uniquely focused on finding connections throughout nature, something that strikes us as very modern today, but which of course has a long history.”

Caroline Shaw is a musician who moves among roles, genres, and mediums, trying to imagine a world of sound that has never been heard before but has always existed. She is the recipient of the 2013 Pulitzer Prize in Music, several Grammy awards, an honorary doctorate from Yale, and a Thomas J. Watson Fellowship. She has worked with a range of artists including Rosalía, Renée Fleming, and Yo-Yo Ma, and she has contributed music to films and TV series including Fleishman Is in Trouble, Bombshell, Yellowjackets, Maid, Dark, and Beyoncé’s Homecoming. In addition to three albums with Sō Percussion, Narrow Sea, Let the Soil Play Its Simple Part, and Rectangles and Circumstance, Nonesuch has released her two Grammy-winning albums Orange and Evergreen, both of which feature Attacca Quartet. “Two-Step” and “Ghost,” Shaw’s songs with Ringdown, her duo with Danni Lee Parpan, are available now on Nonesuch. Caroline Shaw is Wigmore Hall’s 2024-25 Composer in Residence."

Recorded in the past 25 years in different parts of the world, Encyclopedia Sónica Vol. 1 compiles the music and sounds of Leo Heiblum. Comes with insert.

Since Leo Heiblum was a little boy, he always found music everywhere. Listening to the engine of his mother's car and hearing incredible rhythms. He always thought every sound we hear can be made into music, every sound that we hear can be heard as music and it can be felt and understood as music. Every sound has an attack, a decay; some have a pitch. What is more beautiful, the sound of a flute, a bird, a trumpet, a car horn, a violin or a mosquito buzzing? They can all be used to make music.

Leo Heiblum believes that If we learn to hear all sounds as “musical” or at least to have the potential to be used to make music, we might look at the world and listen to the world more lovingly. That car passing by had a beautiful crescendo. That dog barking in the distance created a fantastic melody with an impossible-to- transcribe rhythm. Is there no creative intention behind those sounds? Can the listener give them an intention, can the listener transform them into art? Leo Heiblum is trying to organise them and use them in a way that will be musical for us. He hopes that the next time we hear an ocean wave breaking a bond, fire crackling, or a fly flying, we can enjoy the notes and the rhythms they are making. They are being created by something; who knows what the intention is, but some of the most unique beats he's heard come from rocks falling in cenotes or ice breaking down in a glacier. And the melodies he's heard from bats, dogs fighting, or a newborn dog are both haunting and beautiful. The timber from sounds such as the thorn of a cactus, the voice of a homeless person in the street or a mosquito buzzing can be used to create instruments as beautiful as any instrument. And they have a new sound or a familiar old sound used differently. A way that invites us to hear the music created by this planet.

Hand-numbered limited edition in 200 Black vinyl (PVC Bag, printed inner-sleeve and MP3 download card included).

Musica Automata is an album by the Italian composer Leonardo Barbadoro (formerly known by his electronic alias Koolmorf Widesen), comprised of music performed by the largest robots orchestra in the world: 70 automated instruments controlled by digital impulses from a laptop computer.

It is music that brings together two dimensions often perceived as incompatible, even antithetical: the boundless expressive possibilities of electronics implemented by an acoustic instrumental body in a sensory reality, beating, vibrating, and blowing.
The album received excellent media coverage from the international press (Clash, Billboard, Redbull, Vice, CNN and more), radios (BBC Radio 3, RAI, Radio 1, VRT, ERR, WFMU, NTS, etc) and has been selected by a few websites and stores (such as Soundohm) as one of the best album of the year.

-Long-awaited fourth solo effort by one of today's most talented Brazilian artists and the follow up to the now classic Early Bird album.
-Entirely written and recorded at the Ilha Do Corvo studio in Belo Horizonte, Minas Gerais, Brazil.
-180g heavy vinyl pressing, reverse board print, comes with lyrics and their English translation.

"I imagine this record to be just like a flea market, an ensemble of nostalgia, a collage of memories, of dreams, ideas, sounds, words, feelings, places, eras and styles. A unique sonic sound space that I've been trying to create for my own music. This is also a record about getting old, about the uneasiness of life, but also about how to embrace it and enjoy the ride. About taking a trip to a place and a time that we have never been to, but that we long for. " - Leonardo Marques

A multi-talented musician, singer songwriter and record producer full of tales to tell, Leonardo Marques has released three solo records – Dia e Noite no Mesmo Céu in 2012, Curvas, Lados, Linhas Tortas, Sujas e Discretas in 2015, and Early Bird in 2018. All of Leonardo's solo albums have been released in Japan by Disk Union and the latest one, Early Bird, has also been released worldwide on vinyl format by 180g x Disk Union.

Leonardo was the guitar player of Diesel (later called Udora), one of the main alternative rock bands in Brazil in the early 2000's. The band was on the main line up of the Rock in Rio III Festival, playing for over 250,000 people as an opening act for the Red Hot Chili Peppers, Silverchair, and Deftones. Leonardo then moved to Los Angeles with the band and signed a record deal with Clive Davis (J Records / RCA) and worked with Matt Wallace (Maroon 5, Faith No More), Gavin Macklop (Goo Goo Dolls, Toad the Wet Sprocket), Camus (David Byrne, Arto Lindsay), Bob Marlette (Black Sabbath, Tracy Chapman, Alice Cooper), and 16-time Grammy Award winner Thom Russo (Michael Jackson, Audioslave, Johnny Cash, Maná).

Back to Brazil a few years later, Leonardo launched his Ilha do Corvo recording studio in Belo Horizonte, Minas Gerais, Brazil. The studio is equipped with vintage instruments and gear from various decades which creates a unique sonic landscape and sound signature in each record it produces.

With Flea Market Music, Leonardo Marques presents his long-awaited fourth solo effort and the follow up to the now classic Early Bird album, with a majestic and unique musical trip into nostalgia, dreamy textures and lo-fi flavors, entirely written and recorded at his Ilha Do Corvo studio. This is essential Brazilian contemporary music at its best!

-Long-awaited fourth solo effort by one of today's most talented Brazilian artists and the follow up to the now classic Early Bird album.
-Entirely written and recorded at the Ilha Do Corvo studio in Belo Horizonte, Minas Gerais, Brazil.
-180g heavy vinyl pressing, reverse board print, comes with lyrics and their English translation.

"I imagine this record to be just like a flea market, an ensemble of nostalgia, a collage of memories, of dreams, ideas, sounds, words, feelings, places, eras and styles. A unique sonic sound space that I've been trying to create for my own music. This is also a record about getting old, about the uneasiness of life, but also about how to embrace it and enjoy the ride. About taking a trip to a place and a time that we have never been to, but that we long for. " - Leonardo Marques

A multi-talented musician, singer songwriter and record producer full of tales to tell, Leonardo Marques has released three solo records – Dia e Noite no Mesmo Céu in 2012, Curvas, Lados, Linhas Tortas, Sujas e Discretas in 2015, and Early Bird in 2018. All of Leonardo's solo albums have been released in Japan by Disk Union and the latest one, Early Bird, has also been released worldwide on vinyl format by 180g x Disk Union.

Leonardo was the guitar player of Diesel (later called Udora), one of the main alternative rock bands in Brazil in the early 2000's. The band was on the main line up of the Rock in Rio III Festival, playing for over 250,000 people as an opening act for the Red Hot Chili Peppers, Silverchair, and Deftones. Leonardo then moved to Los Angeles with the band and signed a record deal with Clive Davis (J Records / RCA) and worked with Matt Wallace (Maroon 5, Faith No More), Gavin Macklop (Goo Goo Dolls, Toad the Wet Sprocket), Camus (David Byrne, Arto Lindsay), Bob Marlette (Black Sabbath, Tracy Chapman, Alice Cooper), and 16-time Grammy Award winner Thom Russo (Michael Jackson, Audioslave, Johnny Cash, Maná).

Back to Brazil a few years later, Leonardo launched his Ilha do Corvo recording studio in Belo Horizonte, Minas Gerais, Brazil. The studio is equipped with vintage instruments and gear from various decades which creates a unique sonic landscape and sound signature in each record it produces.

With Flea Market Music, Leonardo Marques presents his long-awaited fourth solo effort and the follow up to the now classic Early Bird album, with a majestic and unique musical trip into nostalgia, dreamy textures and lo-fi flavors, entirely written and recorded at his Ilha Do Corvo studio. This is essential Brazilian contemporary music at its best!

The legendary Disk Union Japan and 180g present the best of today's Brazilian music!

A completely unique and beautiful album from contemporary Brazil blending soft pop, indie folk, sixties psychedelia, lo-fi and flavors of the brazilian Clube da Esquina!

- First ever vinyl release of this top album out of contemporary Brazil
- Essential solo effort from former member of Brazilian underground leaders Diesel, Udora and Transmissor
- Analog recording process
- 180g heavy vinyl, comes with download card

---

Leonardo Marques makes a kind of music that creates bucolic and romantic scenarios whose sound goes among indie folk, sixties psychedelia, lo-fi and the brazilian Clube da Esquina.

As Chicago's Dusty Groove tell us about the album:
"A really beautiful album from contemporary Brazil – but one that resonates with some of the best soft pop elements of the late 60s and early 70s! Vocals are in English and Portuguese, and the instrumentation is this fantastic blend of light elements given a really airy spin – almost as if Nick DeCaro and Sean O'Hagan got together in the studio to work on a set that has slight bossa inspirations – but is something completely unique! This is the first we've ever heard of Leonardo Marques, but we'll sure be watching out for him in the future – as he's got this way of embracing so many elements of things we love, yet never stays slavishly in their own territory – wending his way beautifully through songs that include "Ainda E Cedo", "All The Hearts", "Nao Te Escuto", "The Girl From Bainema", "Um Sopro", "In Your Arms", and "So Que Me Enfeita"."

● 180g heavy vinyl pressing, comes with a 4p insert including an interview with Leonardo Marques, artists biographies and exclusive pics.

● Multi-talented musician, singer songwriter, music producer, and sound engineer Leonardo Marques selects ten musical gems recorded at his Ilha Do Corvo studio in Belo Horizonte, Brazil. The studio is equipped with vintage instruments and gear from various decades which creates a unique sonic landscape and sound signature in each record it produces. Ilha do Corvo is also an indispensable creative hub for the inimitable Belo Horizonte and Minas Gerais musical scene. This compilation highlights some of the best works recorded at Ilha Do Corvo over the past few years and features some of the brightest talent to record in the studio, with music by Bernardo Bauer, Moons, Giovanni Leão, Douglas Scalioni Domingues, Gui Hargreaves, Arthur Melo, Rodrigo Damati, Invisível and Leonardo Marques himself. This is essential Brazilian music at its best!

“Lugar Alto presents their very first release: the incredibly rare and absolutely stunning “Homenagem”, by Leonardo V. Boccia. This is a forgotten gem from the eighties that examines traditional Brazilian themes such as choro, northeastern folk, and capoeira with touches of eighties electronics and new age.

Leonardo Boccia is a musician, multi-instrumentalist, composer, researcher and university professor of Culture and Society at the Federal University of Bahia, whose interests include sound studies, manipulation of sound media, audiosphere and aesthetics, musical theatre, audio culture and neuromusic.

Born in Italy, this respected academic studied music in Berlin, moved to Rio de Janeiro and established himself in Salvador where he was invited to research the northeastern music of Bahia. There he created the experimental group Macchina Naturale, an eclectic combo that performed regularly during his stay. In November 1980, Boccia participated in the first Instrumental Music Festival of Bahia as a soloist where he performed works of his own.

But it was in 1983 that Professor Boccia composed, directed and produced the LP Homenagem. With photos by renowned photographer and artist Mario Cravo Neto for the front and back cover of the booklet, the album presents new and original compositions for instrumental ensembles, such as: Choro Fantasia – for guitar and berimbau -, Canção para Iracema, Homenagem and Lenda do Sertão. The LP was originally released on January 3rd, 1984, with a live performance in the main hall of the Castro Alves Theatre under the title Tribute to Brazilian Music, with the participation of vocalist Sueli Sodré, who contributes to the album, instrumentalists Zeno Millet and Onias Camardelli, accompanied by choreography and visuals.

Much of Homenagem examines the genre of Brazilian music known as Choro, or Chorinho, a genre which appeared in Rio de Janeiro in the 19th century. Choro is regarded as the first typically Brazilian urban music and, over the years, it has come to be considered one of the most prestigious genres of national popular music. Stylistically, it originates from Lundu, a percussion-based rhythm of African inspiration but also influenced by European genres. The instrumental composition of choro was based on the trinca flute, guitar and cavaquinho. Over time, other wind and string instruments were incorporated.

Here, in Homenagem, Professor Boccia deliberately mixes the old and the new, the traditional and the innovative; the album is the environment of Chorinho reconsidered and recontextualized, and its melodies and harmonies still capable of surprises. Just listen to “Terra e Povo” – it has an almost proto-acid-house quality to it, while the synth washes on “Mãe Natureza” with the ethereal vocal stylings of Sueli Sodré ushering in the progressive quality of the album.

Too long out of print, new label Lugar Alto now offers you the chance to reappraise this fascinating reissue of yet another forgotten chapter in Brazilian music.”

he second instalment of Nachtbraker's new label features four new original tunes from the Nachtbraker kitchen. Expect his signature deep grooves and inventive arrangements with moody synth melodies. Leonardo Ceviche is built for the dance floor, a "lean back" groove with a trance vibe to it. One (For Mom) is tailored for the warm summer nights, a steady baseline and snap-py snares supporting the lush and sweet synth melody. Flip the record for two versions of Havel. With the first one taking on a classic deep house guise, the Trip Mix of Havel takes us on a journey beyond your imagination.

Mastered and lacquer cut by Simon (The Exchange) Davey.

Following the mighty rendition of "I Want You", Soul Sugar (a.k.a. Guillaume 'Gee'
Metenier) is back with another massive Soul-Reggae version, this time taking on Luther
Vandross' "Never Too Much".
Fearlessly taking on such timeless classics is serious business, and Leo Carmichael
delivers, once again, with a maximum dosage of finesse and feeling. Seductively delicate
backing vocals from Carl Lee Sharshmidt and Karene Brown keep it as warm and
intimate as one would hope, while Thomas Naim's tasteful guitar licks and Gee's minimal
production allow the song to breathe and flow steadily on its own.
Recorded in Paris, Kingston, Miami and London, the resulting blend of Soul and Reggae
riddims has rarely felt so natural. On the A-side, Gee's "Discomix" dubs a generous dose of
the sultry backing vocals over a minimal, bassy groove that dips, dives and flows on into the
sunset. UK producer Adam Prescott lets loose with an infectious 90's dancehall rerub,
aiming straight for the dancefloor... ladies' choice! Finally rhythm legends Sly & Robbie
drop the BASS with a heavy dancehall treatment, taking it low, letting it ride, while the
vocals float on... Never Too Much!

Reissue of the Birds Of Passage collaboration record with Leonardo Rosado from 2011. A minimalistic, cinematic, experimental dark pop trip.

After the highly respected debut full length Without the World' and her first european tour in 2011 BIRDS OF PASSAGE ( the new rising star of experimental minimalistic dark pop') from New Zealand has released her second act in fall 2011 - a cinematic concept album she has recorded together with LEONARDO ROSADO from Portugal.

DEAR AND UNFAMILIAR is a technicolor soundtrack that traces a vivid path through darkened desolate dunes. Stories of forgotten tragedies and unrequited love liberate the journeyman from reveries of misery and guide the wanderer through contrasting landscapes of dysphoria and ecstasy.'

Mastered by NILS FRAHM the album equally should please fans of Cocteau Twins, Portishead or Zola Jesus.

Everyone loves "Why Can't We Live Together" by Timmy Thomas: how could one resist such a strong music vibe coming with a message more relevant today than ever! It has been covered by the most creative artists more than a few times...

Recorded in Paris and Kingston, the Soul Sugar crew & Leonardo Carmichael make it their own with a sultry reggae groove. Jahno on drums and syndrums, Thomas Naim on guitar, and Guillaume "Gee" Metenier on keyboards and production duties, are delivering the classic hit in all its majesty, in the superior categories of both extended Discomix, and Dub version under the spell of Dubmaster extraordinaire Dennis Bovell!

What to say about the breathtaking interpretation of Leonardo Carmichael Growing up in Jamaica, Leonardo learnt many a song from his father Glendon Joseph McFarlane, who would sing to his mother Geraldine, who sang in a choir. Leonardo grew up as a drummer and a singer in churches. Through a mutual friend, he met Nastassja Hammond, daughter of Beres Hammond, with whom he started writing and releasing music for various artists including Courtney John and Kreesha Turner. Leonardo has a wide appreciation for diverse genres but keep an International Reggae and Dancehall feel at the core of his music. It can be said Leonardo has faith & soul to the bone...

"Leonardo arrives as a new artist in 2018 having been promptly picked up by Alan Fitzpatrick for his We Are The Brave label project. A string of releases are planned and in place for 2018 on WATB with offerings also coming here on his own imprint Etheric, which serves as an outlet for Leonardo's music outside of his ongoing relationship with We Are The Brave.
The Origin EP is a collection of four tracks that draw on primitive feelings, heavily influenced by recent trips travelling through Peru and South America. The EP has a trippy hedonistic feel and represents Leonardo's take on a tribal rave in the depths on the Amazonian Rainforest, while still drawing on futuristic and electronic elements.

Pleasure Zone welcomes Franco Cinelli & Leonardo Andres to the Family!
This collaboration blowed us away and now its time to share the teaser with you.

It's already been two years since Leonardo Martelli's debut with the four-tracker Menti Singole. He has since been following the direction he took with this first release, at a rather slow path, releasing a lone and haunted mini-album, Previsto, in the meantime. With Menti Singole Vol.2, Martelli establishes a picture of his music, an update of his aspirations in the feminine.
.
Sparse, clear-cut and slightly nerve-racking, Micaella opens the record with the precision of a neurosurgeon. The song can be seen in many ways as a good introduction to the music of the Italian musician - past and probably future. Ethereal string machines balance the nagging acid leitmotiv: as often with Martelli's music, there's something going on in the background, some anonymous forces operating off-screen.

We can make the same assessment with Alice, the most obviously desperate tune on the record: the sad synth melody comes in as if it was trying to fill an emotional void, but the supposedly reassuring sentence is not complete, notes are missing. On Laura - just like with Alice - Martelli keeps on playing with the potential of abstraction of rap samples, a process we're familiar with since Previsto.

Sofia gives a particularly striking example of this weird game he likes to play as Biggie Smalls' words get progressively eviscerated from their meaning. Backed by bare percussive samples (a numerical metronome, copyright-free digital ersatz of percussions), Sofia depicts - without any artifice - despair in a post-industrial world, where everything has lost any sense of materiality - while Previsto was still set in a industrial world of steaming factories. Disarmingly simple, Menti Singole Vol.2 offers electronic mourning music at its most elegant.

Electro kicks, raw textures, ominous choirs: L' immaginario, Previsto's opening track, ties a bound between Martelli's two releases on Antinote, giving us one last glimpse at the uninhabited post-apocalyptic landscapes drawn in Menti Singole.
However, this time Leonardo Martelli explores a more urban universe, as the use of rap samples on Negli abissi and Lo Schema suggests. Martelli exploits their aggressiveness in a way that somehow reminds us of minimalist rap tapes from Memphis. The third track's title makes it even clearer: called Leggende Metropolitane, the song is
a trip into the darkest blind alleys of the city, an invitation to wander among human wastes, driven by its light kick.

La Luna, is the most contemplative moment of the album, offering us a meditative break before the nightmarish Il
registro, Martelli's brutal come-back to raw electro with a tune which depicts us a hellish engine room for expiating souls. Finally, the record concludes with Previsto, a haunted title track, filled with wailings that give us to contemplate a cruel vision of the urban misery we're stuck in.

"French Londoner, producer, live performer and troubadour, Remi Mazet marks the end of the summer with a release that was well worth waiting for. Eccentric, particular, specific and always surprising.

From the laid back ethereal and atmospheric scene-setting intro, through upbeat dance floor cuts, percussive workouts and back again, everything about this collection says depth, groove and flow. Sax, keys and sublime samples nestle among, beats, breaks and 4/4 rhythms to create a sonic excursion where nothing is hurried and every track is distinct yet cohesive.

Following on from releases on Colors and Love Fever Recordings, Safran (SJ002) is a continuation of his ongoing explorations. The EP is a perfect extension of his early work, a contagious evolution and transformation in a more personal way."

5th Birthday comp featuring a host of artistst who've graced the label over the perioid.. Exclusives from Tolouse Lowtrax, Geena, Iueke, Domenique Dumont, . Inoue Shirabe, Raphael Top-Secret and more... Gatefold Sleeve. TIP!
.
Made of 14 sketches - each reflecting one of the many shades of the label's catalogue - Five years of Loving Notes features new names as well as those of artists who have been involved with the label since it's very beginning, like Geena or Iueke - responsible for the first 12' released on Antinote.

The music on this compilation covers a wide spectrum of moods and atmospheres, from the dark and raw excursions from Tolouse Low Trax or Iueke to the lush instrumental crafted by Nico Motte and Syracuse's Antoine Kogut; however as the listener gets deeper into the compilation, the whole of the tunes, sitting side by side on the records, start to make sense as they all seem to point towards the same direction. If one should try isolating a common trait from all these songs, one might come to the conclusion that it lies in the way they all speak directly to the listener's emotional receptors, unvarnished and without abusing of producer's 'tricks'.

We'll let the tricky question mentioned before in your hands once you will have been through this 63-minute long testimony of exclusive music by the artists who have been shaping Antinote's sound for five years; from the opening Latvian arabesques from Domenique Dumont to the Pink-Floyd-ian ending from the latest addition to the label, Alek Lee, via Leonardo Martelli's smoggy electro and Raphael Top Secret's ominous talk-over.

Heith's music has always been infused with sacred mystery, striking a delicate balance between lived experience and imagination. On Escape Lounge, his second full-length release for PAN, Heith draws inspiration from contemporary digital spirituality and interpretations of experience that are crossing over from cultural niches into the mainstream - including internetbased conspiracy theories and psychological operations. The album presents a sonic diary recorded across Milan, Berlin, London, and Stockholm, crafting a post-informational folklore while exploring new territories in personal songwriting. The title Escape Lounge, inspired by airport waiting areas, serves as a metaphorical waiting room of the mind. Its hidden passages can lead either to peril and loss or to enlightenment and kaleidoscopic mental landscapes. This liminal space echoes the mysterious realms of Twin Peaks or the viral "Backrooms" phenomenon. Within it, contributing musicians - including frequent collaborators Leonardo Rubboli, Aase Nielsen, and 33 drummer Alexander Iezzi - move like ethereal presences, creating intangible soundscapes that leave traces of post-hypnotic melancholia. Notably, the vocal contributions from Price and James K enhance the otherworldly atmosphere, their multifaceted timbres adding layers of intentional ambiguity. Throughout the album, Heith masterfully blends acoustic instruments, human voices, and digital technology along an uncharted path that references the experimental pop of 90s trip-hop, 2000s indie-folk songwriting, and lush Mediterranean psychedelia. The sounds are meticulously crafted, combining synthesizers with guitar-based compositions in a computational songwriting approach that creates a collage across eras and landscapes. Each track unveils new dimensions of this delicate hallucinogenic narrative, delivering an immersive listening experience. As reality continuously shifts, Escape Lounge emerges as both sanctuary and confinement - a space of momentary connections and endless potential. In 2025, Heith will debut a new live show and audiovisual collaboration titled 'The Talk' with James K and Günseli Yalcinkaya, commissioned and premiering at Sonar Festival, Terraforma, Nuit Sonores, and Reworks.

a A1 James Russo (2)– Winged, Written-By Dialogue – Quentin Tarantino


d A4 Jamie Foxx And Christoph Waltz– "In That Case Django, After You...", Written-By [Dialogue] – Quentin Tarantino

[f] A6 Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 Samuel L. Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T. Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 Samuel L. Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 Samuel L. Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 Annibale E I Cantori Moderni*– Trinity: Titoli, Composed By – Franco Micalizzi, L. Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

[a] A1 James Russo (2)– Winged, Written-By [Dialogue] – Quentin Tarantino


[d] A4 Jamie Foxx And Christoph Waltz– "In That Case Django, After You...", Written-By [Dialogue] – Quentin Tarantino

[f] A6 Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 Samuel L. Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T. Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 Samuel L. Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 Samuel L. Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 Annibale E I Cantori Moderni*– Trinity: Titoli, Composed By – Franco Micalizzi, L. Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

[a] A1 | James Russo (2)– Winged, Written-By [Dialogue] – Quentin Tarantino


[d] A4 | Jamie Foxx And Christoph Waltz– "In That Case Django, After You ..", Written-By [Dialogue] – Quentin Tarantino

[f] A6 | Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 | Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 | Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 | Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded | By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 | Samuel L Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 | James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 | Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 | Samuel L Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 | Samuel L Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 | Annibale E I Cantori Moderni*– Trinity Titoli, Composed By – Franco Micalizzi, L Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

[a] A1 | James Russo (2)– Winged, Written-By [Dialogue] – Quentin Tarantino


[d] A4 | Jamie Foxx And Christoph Waltz– "In That Case Django, After You ..", Written-By [Dialogue] – Quentin Tarantino

[f] A6 | Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 | Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 | Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 | Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded | By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 | Samuel L Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 | James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 | Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 | Samuel L Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 | Samuel L Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 | Annibale E I Cantori Moderni*– Trinity Titoli, Composed By – Franco Micalizzi, L Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

In an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band’s alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honours the profound legacy of their departed founders.

Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band’s musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums.

Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra’s" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s—a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound.

The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth’s two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel’s credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel’s father, British jazz-funk royalty Jean Paul “Bluey” Maunick, of Incognito, to play guitar on a new version of Azymuth’s eighties classic “Last Summer In Rio”, in tribute to the song’s composer, José Roberto Bertrami. Equally, “Samba Pro Mamao” is a new composition dedicated to Azymuth’s beloved original drummer, Ivan “Mamão” Conti.

Credits:

Alex Malheiros - Bass, Acoustic Guitar & Vocals: 1,2, 3, 4, 5, 6, 7, 8, 9, 10
Kiko Continentino - Keyboards, Organ, Vocoder & Vocals: 2, 3, 4, 5, 6, 7, 8, 9, 10
Renato Massa - Drums & Vocals: : 2, 3, 4, 5, 6, 8, 9, 10
Ian Moreira - Percussion: 1, 2, 3, 4, 5, 6, 8, 9, 10
Sidinho Moreira - Percussion: 1, 2, 3, 4, 5, 7, 8, 9, 10
Dudu Viana - Keyboards & Vocals: 1
Victor Bertrami - Drums: 1
Mangueirinha - Repinique: 3
Jean Paul ‘Bluey’ Maunick - Electric Guitar: 5
Jose Carlos Bigorna - Soprano Sax: 9
Daniel Maunick: Additional Percussion, Synths & EFX: 1, 2, 3, 4, 5, 6, 7, 8, 9

Produced, Engineered, Mixed & Arranged by Daniel Maunick
Co-Produced & Arranged by Alex Malheiros
Executive Producer: Joe Davis


Recorded by:
Daniel Maunick & Leonardo Vieira @ Estúdio Nos Trilhos, Santa Teresa, Rio, Brazil
Daniel Maunick & Amadeu Signorelli @ Sigstudio, Niterói, Rio, Brazil
Daniel Maunick & Alex Malheiros @ Estúdio Basslab, Piratininga, Rio, Brazil
Mixed by Daniel Maunick @ The Sugar Shack, Carluke, Scotland


Artwork & Design: Tyler Askew

In an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band’s alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honours the profound legacy of their departed founders.

Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band’s musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums.

Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra’s" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s—a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound.

The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth’s two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel’s credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel’s father, British jazz-funk royalty Jean Paul “Bluey” Maunick, of Incognito, to play guitar on a new version of Azymuth’s eighties classic “Last Summer In Rio”, in tribute to the song’s composer, José Roberto Bertrami. Equally, “Samba Pro Mamao” is a new composition dedicated to Azymuth’s beloved original drummer, Ivan “Mamão” Conti.

Credits:

Alex Malheiros - Bass, Acoustic Guitar & Vocals: 1,2, 3, 4, 5, 6, 7, 8, 9, 10
Kiko Continentino - Keyboards, Organ, Vocoder & Vocals: 2, 3, 4, 5, 6, 7, 8, 9, 10
Renato Massa - Drums & Vocals: : 2, 3, 4, 5, 6, 8, 9, 10
Ian Moreira - Percussion: 1, 2, 3, 4, 5, 6, 8, 9, 10
Sidinho Moreira - Percussion: 1, 2, 3, 4, 5, 7, 8, 9, 10
Dudu Viana - Keyboards & Vocals: 1
Victor Bertrami - Drums: 1
Mangueirinha - Repinique: 3
Jean Paul ‘Bluey’ Maunick - Electric Guitar: 5
Jose Carlos Bigorna - Soprano Sax: 9
Daniel Maunick: Additional Percussion, Synths & EFX: 1, 2, 3, 4, 5, 6, 7, 8, 9

Produced, Engineered, Mixed & Arranged by Daniel Maunick
Co-Produced & Arranged by Alex Malheiros
Executive Producer: Joe Davis


Recorded by:
Daniel Maunick & Leonardo Vieira @ Estúdio Nos Trilhos, Santa Teresa, Rio, Brazil
Daniel Maunick & Amadeu Signorelli @ Sigstudio, Niterói, Rio, Brazil
Daniel Maunick & Alex Malheiros @ Estúdio Basslab, Piratininga, Rio, Brazil
Mixed by Daniel Maunick @ The Sugar Shack, Carluke, Scotland


Artwork & Design: Tyler Askew

Diogo Silva, Nuno Fulgêncio and Rui Martins collectively go by the name Bardino. With their sound consisting of an inventive mix of
electronica, rock, jazz, the Porto-based trio are pushing their sound into unchartered waters. A feeling that will be reinforced after
experiencing their new album, ‘Memória da Pedra Mãe’.
Their enthralling music draws upon the imagery of the beautiful and rugged scenery of their home country. ‘Centelha’ , their previous
album (released by Saliva Diva in 2020) was recorded in Chaves,
in the very remote region of Trás-os-Montes. Their 207 EP of the same name was created in the rustic heart of Serra das Meadas. In this
latest offering, the mention of "Pedra Mãe" (Mother Stone), refers to a rare geological phenomenon popularly known as "breeder stones"
found in isolated, deserted, and inhospitable places. On the inspiration of the new album, they explain that they want to refer to "the
importance of collective memory in the cohesion and identity of communities and the process of creating new memories, a process that
is both natural and conflicting, since it mirrors a tension between past, present and future".
The album was recorded in the summer of 2023 at Arda Recorders in Porto and produced by João Brandão and Rui Martins. In this
new material, Bardino's resources expand: Nuno Fulgêncio's drums, Diogo Silva's bass and Rui Martins' veritable arsenal of keyboards
(acoustic and electric piano, various synthesisers) are augmented by the alto and tenor saxophones of Brian Blaker (who stands out in
"Memória" and "Black Mica"), the guitar of Leonardo Outeiro (who features on "Punctum No 2") and, already indicating their affiliation
with the Porto label Jazzego, Hugo Oliveira, who records as Minus & MRDolly (and is a guest on "Pedra Mãe") and Sérgio Alves, aka
AZAR AZAR (who plays piano and Moog on "Tília"). Bardino's entry into the increasingly unavoidable Jazzego catalogue also reinforces
their obvious links to a new wave of projects that have been experimenting with different tangents to the notion of "jazz", taking this
music as part of a wider set of coordinates.
Over the course of eight tracks, and clearly benefiting from the distinct imprint of the recognised quality work of João Brandão, one of
Portugal's current best producers, Bardino presents dense, deeply cinematic music of the highest definition, in which the different
instruments translate a broad emotional and visual landscape, with solos of enormous elegance arranged over grooves that induce the
idea of movement. All the musical coordinates mentioned earlier are present, but perhaps in this new material you can feel a greater
fluidity, certainly the result of honing the vision of the central trio through a vast experience collected on stages all over the country. And
there are even echoes of a decidedly Portuguese songbook, as is so clearly felt in "O Semeador", something new in the range of aesthetic
references embraced by Bardino. This is, in fact, music that thrives on a benign tension between past, present and future, in the sense
that it embraces traditions and history, seeks a new framework in this diverse now and dares to project itself forward. Because the future
is the best of all locations.

On Air is the second solo release by Alan Parsons following the split of The Alan Parsons Project. One of the creative forces was APP long-time guitarist Ian Bairnson. The concept of the album revolves around the history of airborne exploration.

The theme of “Too Close to the Sun” is escaping the labyrinth of the Minotaur. “Brother Up In Heaven” is an emotionally driven song, about the unfortunate death of Ian Bairnson’s cousin. “One Day To Fly” is a song about Leonardo da Vinci’s search to design a flying machine.

A who’s-who of lead vocalists are featured on this album; Christopher Cross, Eric Stewart, Neil Lockwood, Steve Overland and Graham Dye. The amazing looking artwork was recreated for this vinyl edition by none other than Peter Curzon of Storm Studios. Although On Air might be the most underrated Alan Parsons albums, many consider this as one of his best albums. The package includes an insert with lyrics and pictures.

Titanic is a 1997 American epic romance-disaster film directed, written, co-produced, and co-edited by James Cameron. The movie stars Leonardo DiCaprio and Kate Winslet as members of different social classes who fall in love aboard the ship during its fateful maiden voyage.

Upon its release on December 19, 1997, Titanic achieved critical and commercial success. Nominated for fourteen Academy Awards, it tied with All About Eve (1950) for the most Oscar nominations and won eleven, including the awards for Best Picture and Best Director, tying Ben Hur (1959) for the most Oscars won by a single film. With an initial worldwide gross of over $1.84 billion, Titanic was the first film to reach the billion-dollar mark.

Titanic is available as a 25th anniversary edition of 10,000 individually numbered copies on silver & black marbled vinyl and includes an 8-page booklet, XL fold-out poster and a print replica of the historical newspaper front page. The 2 LPs are housed in a deluxe heavyweight gatefold sleeve with alu-brush finish and metallic embossing.

Reloaded, originally released in 1995, was produced by Gossard and multiple Grammy winner Nick DiDia (Bruce Springsteen, Pearl Jam, Stone Temple Pilots, Rage Against The Machine). The album’s first single, “Dizzy,” was featured both in the film The Basketball Diaries, and on its soundtrack—sitting alongside tracks from The Doors, Soundgarden, Jim Carroll, and The Cult. CMJ New Music Monthly wrote that the “alterna-rock promise of Wonderful Virus—their debut in no way hints at the leaps and bounds by which the band seems to have grown, or the unexpected paths Reloaded follows.” Finally, 30 years later, Reloaded gets reintroduced, remastered on white vinyl and is also included on the double CD Dizzy: The Medicine Label Anthology. Its missing status on wax has been rectified, and Reloaded is ready to be loaded onto your turntable.

BUY! HERE’S WHY!
• Their sophomore release returns on white vinyl.
• Produced by Nick DiDia (Bruce Springsteen, Stone Temple Pilots, Rage Against The Machine) and Stone Gossard (Pearl Jam).
• Contains “Dizzy” which was featured in 1995’s The Basketball Diaries (starring Leonardo DiCaprio).

Enjoy The Toons Records in partnership with Paramount
Pictures proudly presents Teenage Mutant Ninja Turtles:
Out of the Shadows (Music from the Motion Picture),
Score by Steve Jablonksy. Michelangelo, Donatello,
Leonardo, and Raphael are back to battle bigger, badder villains,
alongside April O’Neil (Megan Fox) and a newcomer:
the hockey-masked ally Casey Jones (Steven Amell).
After supervillain Shredder (Brian Tee) escapes custody,
he joins forces with two dimwitted henchmen, Bebop
(Gary Anthony Williams) and Rocksteady (WWE's Sheamus),
to unleash a diabolical plan to take over the world. As the Turtles
prepare to take on Shredder and his new crew, they find themselves facing an even greater threat with similar intentions: the notorious Krang (Brad Garrett). Teenage Mutant Ninja Turtles: Out of the Shadows (Music from the Motion Picture) features music by Steve Jablonsky (Transformers film series, The Sims 3, Gears of War 2). Jablonsky's signature sound is present, with a unique call-back to the original theme and fun, exciting orchestration for the 2016 film score. Teenage Mutant Ninja Turtles: Out of the Shadows (Music from the Motion Picture) is a 2xLP, housed in a gatefold jacket and pressed on colorful themed vinyl. The pressing is limited to 750 copies across 3 color variants. –

In an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band’s alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honours the profound legacy of their departed founders.

Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band’s musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums.

Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra’s" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s—a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound.

The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth’s two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel’s credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel’s father, British jazz-funk royalty Jean Paul “Bluey” Maunick, of Incognito, to play guitar on a new version of Azymuth’s eighties classic “Last Summer In Rio”, in tribute to the song’s composer, José Roberto Bertrami. Equally, “Samba Pro Mamao” is a new composition dedicated to Azymuth’s beloved original drummer, Ivan “Mamão” Conti.

Credits:

Alex Malheiros - Bass, Acoustic Guitar & Vocals: 1,2, 3, 4, 5, 6, 7, 8, 9, 10
Kiko Continentino - Keyboards, Organ, Vocoder & Vocals: 2, 3, 4, 5, 6, 7, 8, 9, 10
Renato Massa - Drums & Vocals: : 2, 3, 4, 5, 6, 8, 9, 10
Ian Moreira - Percussion: 1, 2, 3, 4, 5, 6, 8, 9, 10
Sidinho Moreira - Percussion: 1, 2, 3, 4, 5, 7, 8, 9, 10
Dudu Viana - Keyboards & Vocals: 1
Victor Bertrami - Drums: 1
Mangueirinha - Repinique: 3
Jean Paul ‘Bluey’ Maunick - Electric Guitar: 5
Jose Carlos Bigorna - Soprano Sax: 9
Daniel Maunick: Additional Percussion, Synths & EFX: 1, 2, 3, 4, 5, 6, 7, 8, 9

Produced, Engineered, Mixed & Arranged by Daniel Maunick
Co-Produced & Arranged by Alex Malheiros
Executive Producer: Joe Davis


Recorded by:
Daniel Maunick & Leonardo Vieira @ Estúdio Nos Trilhos, Santa Teresa, Rio, Brazil
Daniel Maunick & Amadeu Signorelli @ Sigstudio, Niterói, Rio, Brazil
Daniel Maunick & Alex Malheiros @ Estúdio Basslab, Piratininga, Rio, Brazil
Mixed by Daniel Maunick @ The Sugar Shack, Carluke, Scotland


Artwork & Design: Tyler Askew

Repressed LP on Neon Orange Vinyl, includes download card. It feels like someone left the light on in the studio and it all just ran itself, there had been a funky human input earlier in the day but, by a Darwinian machine-led kind of osmosis, the tracks recorded spent the wee small hours self-reducing and simplifying themselves. Marinated in music. “I believe more in the scissors than I do in the pencil,” said Truman Capote. ”Simplicity is the ultimate sophistication,” opined Leonardo da Vinci much earlier in proceedings. Yes, it’s the space around the object, what you leave out that makes what you leave in so important. ESG know this. Sure they can play the game but it’s the swagger of the groove and the minimal topping – like an anti-cup cake – that makes this unique New York sisterhood so appealing on ‘Keep On Moving’. Sampled on TV ads, lauded by critics and swooned over on the dancefloor, ESG’s post-punk took out the grunge and polished the basics. Cut them open and “less is more” is written all the way through. ‘Keep On Moving’ was released over ten years ago to much praise (Q said it was “even better” than 2002’s much loved ‘Step Off’). ESG had been sparring partners for PiL and early hip hop and four years after the ‘Off’, they were onto something new – rhythm as core, reflective storylines about relationship management, sensuality and insanity gather around the bass fix but they’re much blurrier than the incessant beats. Inadvertently they unmask techno and glitch and leave out any kind of superfluous fluff. It’s hard and temple throbbing. Turn it up. And keep moving. “If there's one tune which sums up ESG's enduring lust for life, it's the beautifully-judged Black Flag/early techno crossover of the closing 'Gimme A Blast'.” The Guardian 5/5 // “This album's every percussive aspect has been honed to impart the maximum amount of pleasure.” The Observer // “Despite their influence on younger bands (you can hear LCD Soundsystem's knobbly grooves on ‘Insane’), ESG still sound like nothing else.” The Guardian

"Exhibit B: The Human Condition". It's really, really sick. It's really different from the last one and it's really different from the two before. But it's 100 percent EXODUS. Out of the last three, this one is faster, but it's also a little more melodic, and it's also a little bit more old school. Some of Rob's vocal patterns are just so old school; it's killer. The production is a little more, let's say, less sterile. Not less sterile, but less digital perfection, more organic. It's really, really lively. There is by far more melody on it as well. Thematically, it's a little different. The last one centered a lot on religion and this one is, as the title says, about the human condition; cruelty, ignorance, and inhumanity and brutality. Just the things that man has shown to be so adept at doing.” "Our goal in EXODUS is just basically to defy time, to defy age, to have every album just get more furious and more angry and more intense. A lot of people will ask me things like, 'EXODUS is achieving a lot of popularity again, do you think it's due to thrash metal coming back?`and I say, 'No. I think thrash metal's coming back because of EXODUS.'" The goal now, he says, is to remain "the most dangerous animal in the jungle." "We wanted to portray the violence of man at its finest, so we started with our own version of the Leonardo da Vinci sketch of Vitruvian Man, but done the ‘EXODUS’ way! I was pointed in the direction of Colin Larks of Rainsong Design for the cover and he killed it! To me, the artwork represents man and his affinity for bloodshed, ignorance, and all-around ability to be led like sheep to the slaughter. The image fits the songs on this record perfectly. The whole layout is going to be as sick as the record itself!" GARY HOLT, Exodus

"Exhibit B: The Human Condition". It's really, really sick. It's really different from the last one and it's really different from the two before. But it's 100 percent EXODUS. Out of the last three, this one is faster, but it's also a little more melodic, and it's also a little bit more old school. Some of Rob's vocal patterns are just so old school; it's killer. The production is a little more, let's say, less sterile. Not less sterile, but less digital perfection, more organic. It's really, really lively. There is by far more melody on it as well. Thematically, it's a little different. The last one centered a lot on religion and this one is, as the title says, about the human condition; cruelty, ignorance, and inhumanity and brutality. Just the things that man has shown to be so adept at doing.” "Our goal in EXODUS is just basically to defy time, to defy age, to have every album just get more furious and more angry and more intense. A lot of people will ask me things like, 'EXODUS is achieving a lot of popularity again, do you think it's due to thrash metal coming back?`and I say, 'No. I think thrash metal's coming back because of EXODUS.'" The goal now, he says, is to remain "the most dangerous animal in the jungle." "We wanted to portray the violence of man at its finest, so we started with our own version of the Leonardo da Vinci sketch of Vitruvian Man, but done the ‘EXODUS’ way! I was pointed in the direction of Colin Larks of Rainsong Design for the cover and he killed it! To me, the artwork represents man and his affinity for bloodshed, ignorance, and all-around ability to be led like sheep to the slaughter. The image fits the songs on this record perfectly. The whole layout is going to be as sick as the record itself!" GARY HOLT, Exodus

In Science Cult's ongoing quest to curate a collection that embodies the vision and direction of the label, 'Commuting Observables' was born - delivered on 12" galaxy design vinyl. This various artist compilation brings together some of the most distinctive talents in experimental electronic music, representing the cutting edge of the genre. The compilation offers a blend of intricate rhythms, complex melodies, and immersive soundscapes, reflecting the diverse and innovative sounds that define the American imprint.

Commuting Observables is more than just a collection of tracks; it’s a carefully curated experience that showcases the future of electronic music. This release invites listeners to explore the evolving boundaries of sound, capturing the essence of modern production through a diverse and dynamic sci-fi inspired journey.

Sonor Music Editions is honored to announce the reissue of the very rare LP Aquarium Sounds by Italian composer Filippo Trecca. Originally released in 1979 as a promo-only item, “Aquarium Sounds” is a hybrid collection of tracks; some were used as the soundtrack to the thriller TV series “Così Per Gioco” (1979), directed by Leonardo Cortese; others from the talk show “Acquario” (1978-1979) hosted by Italian journalist and writer Maurizio Costanzo. The album also includes “Elena Tip” which features playful vocals by a young Ilona Staller (aka Cicciolina).

Aquarium Sounds were composed by Trecca himself, Achille Oliva (bass), Alessandro Alessandroni Jr. (keys), Giancarlo de Matteis (guitars), and Marco Parisi (drums), playing together for the creation of this progressive pop gem sought after by many collectors from around the world.

The album, recorded using simple acoustic elements and early synths, is a treasure buried deep into the ocean of time that Sonor Music Editions is bringing back to the surface; a journey into the depths of our music memory as well into the universe of Italian music heritage.

Leonardo Del Vita and vocalist Sabrina Anselmi, epitomized the sun-soaked italo grooves of the 1980s. This short-lived group unleashed only a handful of singles between 1985 and 1988.

Their debut single, “Sombrero” surfaced in 1985 as a promo-only 12” on the Roman label LGO, in exceedingly limited quantities, garnered relatively little attention.
Fast forward nearly four decades, it has become one of the most coveted Italo 12”s, fetching exorbitant sums in collector’s circles.

“Sombrero” stands out among aficionados of obscure Italo-disco, embodying a distinct vein: that of summer-themed tracks. With its tantalizing blend of airy arpeggios, Juno 60 synth lines and bass, punchy percussions adorned with claps, DX 7 cowbells and a seductive saxophone solo. “Sombrero” has it all to seduce new discerning listeners, also thanks to the infectious alternating vocals in English and Spanish, featuring hilariously sultry hooks such as “Te quiero, Sombrero!” or “I love muchachas!”

Disco Segreta fulfils another Italo disco dream by reissuing this absolute gem for a broader audience, presented in a meticulously remastered 12” edition featuring the original vocal and instrumental versions, along with the stellar “Estate Dub” by the Chilean-Swedish maestro of Italo-disco, Claudio Burgos, aka Mr. Fantasy, which we are sure will become an absolute dance classic.

Sombrero, te quiero!

By now one of our most cherished and respected portuguese songwriters, Maria Reis has been steadily creating a legacy that will undoubtedly endure in the portuguese songwriting canon for years to come. Co-founder of the Lisbon based Cafetra label- collective, Reis spent her teenage years honing her craft, particularly with her co- leading role on Pega Monstro with her sister Júlia Reis, with albums like 'Alfarroba' and 'Casa de Cima' on Upset !the Rhythm and whose indefinite hiatus since 2018 opened the gateway for a prolific solo venture. After a raw debut EP released in 2017 – Maria -, 2019 saw the release of the celebrated 'Chove na Sala, Água nos Olhos', a definitive statement of Reis' almost casual gift of painting vivid and impressionistic portraits of everyday life, conveying all the anger, resignation and melancholic joy of moving on. Two years later, following a string of widely praised live appearances, Reis records the 'Flor da Urtiga' EP with musical production of Noah Lennox aka Panda Bear, a sweeter affair, crossed by a witty irony that tackles such subjects as family, love and toxic masculinity, through layered acoustic guitars, lightweight percussion and joyful harmonies. 'Benefício da Dúvida' from 2022, strips back most of the production to rely on simple but affirmative arrangements assembled with the help of her sister Júlia and longtime collaborator Leonardo Bindilatti.

And now, almost two years on the clock after 'Benefício da Dúvida', Maria Reis returns with a newfound maturity with 'Suspiro...' - Portuguese for sigh. Created in close collaboration with Tomé Silva - a young and versatile musician and producer who's been recently leaving a mark on the portuguese scene - and recorded in the intimacy of the latter's bedroom, 'Suspiro...' doesn't cut ties with that recent past but reflects the learning process embedded in previous ventures in its lyrics and arrangements, towards song's eternity. A projection of different emotional states and physical spaces throughout these years, 'Suspiro...' carries in the apparent simplicity of its title the plurality of meanings found in such a natural act, from anger to being in love, from resignation to resilience. Life in a sigh? We've been further from that.

An attentive and sensitive observer of both intimate and surrounding spaces, Maria Reis continues to explore wordplay in her very personal manner, a poetic act as brutally honest as filled with imagery allusions, enchanting the mundane with lyricism. Touched by a resigned and dreamy melancholy, 'Suspiro...' settles, for the most part, on electric and acoustic guitar lines, simple but expressive rhythms, floating vocal harmonies and a voice almost tangible in the way it conveys memorable hooks without fear of appearing both fragile and tenacious. 'Amor Serpente's low key tragedy turned mantra for life, the blissed pop of 'Estagnação' or 'T-shirt', 'Holofote's flailing rawness, the mesmerizing sparkle of 'Pico', 'Meta Data's electrified energy or the playful keyboards and sound effects of 'Coisas do Passado' composing a lively portrait of reality and expectations where we can all see ourselves reflected in. For Maria, almost a second nature, that through all her honesty, know how and imagination, reaches a new life with 'Suspiro...'.

2023 markiert den 10. Jahrestag von Isbells bahnbrechendem Album Southeastern.

Die Deluxe-Editionen enthalten alle Original-Demos und eine Live Aufnahme vom Dezember 2022 im Bijou Theatre in Knoxville, TN. Der Rolling Stone zählte Southeastern zu den 500 besten Alben aller Zeiten.

Jason hat eine prominente Rolle im neuen Film von Martin Scorcese, "Killers of the Flower Moon", neben Leonardo DiCaprio und Robert De Niro (Kinostart im Oktober).

2023 markiert den 10. Jahrestag von Isbells bahnbrechendem Album Southeastern.

Die Deluxe-Editionen enthalten alle Original-Demos und eine Live Aufnahme vom Dezember 2022 im Bijou Theatre in Knoxville, TN. Der Rolling Stone zählte Southeastern zu den 500 besten Alben aller Zeiten.

Jason hat eine prominente Rolle im neuen Film von Martin Scorcese, "Killers of the Flower Moon", neben Leonardo DiCaprio und Robert De Niro (Kinostart im Oktober).

The iconic voice of Luzmila Carpio rings out from the Andes, spreading messages of indigenous struggle, female empowerment and unceasing love for both the people and planet around us. An undeniable icon of Bolivian Andean culture whose career spans multiple decades, Luzmila has released more than 25 albums (there’s a reason that Rolling Stone described her as”one of the most prolific indigenous singers of South America”), inspiring millions while singing in both her native Aymara-Quechua language and Spanish. Yet Luzmila Carpio isn’t someone who’s content to simply rest on her laurels; she continues to take risks and push her music into vibrant new soundworlds. On new album Inti Watana: El Retorno del Sol (her first LP in a decade), she’s teamed up with Argentinian producer Leonardo Martinelli (a.k.a. Tremor), a ZZK veteran who’s spent the bulk of his career finding the common ground between Latin American folk rhythms and modern electronics. Building off the momentum created by 2015’s Luzmila Carpio Meets ZZK collection in which her music was reworked by not only Tremor, but standout electronic artists like Nicola Cruz, Chancha Vía Circuito and El Búho this new album is meant to stretch across genres, generations and continents, with Luzmila’s sonorous, occasionally birdsong-inspired vocalizations gracefully gliding amongst ambient textures, programmed beats and (of course) a bevy of traditional instrumentation from around the globe. Over the course of the LP, Bolivian charangos and quenas sit comfortably alongside the sounds of harmonium, violin, acoustic and electric guitar, Argentinian bombo leguero and sacha guitar, Armenian duduk and a litany of Asian percussion. Inti Watana: El Retorno del Sol which will be accompanied by a full length documentary might not sound like previous Luzmila Carpio releases, but on a spiritual, political and lyrical level, her core values remain unchanged. A native of Bolivia’s Potosí region, she’s long been a beacon for indigenous communities in not just her home country, but throughout Latin America, her voice inspiring joy and pride amongst ancient peoples whose culture and inherent beauty are often overlooked. Her pursuit of music a field traditionally dominated by men in Andean communities long ago made her a pillar of women’s empowerment, but Carpio has also been a vocal proponent for social change, using her influence to advocate not just for the rights of women, but for the protection and increased visibility of all indigenous people. Yet it’s the planet itself that Carpio is most passionate about, and she’s devoted much of her new album to conversations with Mother Earth and Father Sun

Après le succès de Birdman (quatre Oscars dont ceux du meilleur film et du meilleur réalisateur), le réalisateur Alejandro G. Inarritu repousse les limites de l'art cinématographique avec ce western épique : The Revenant. Avec Leonardo DiCaprio (Titanic, Le Loup de Wall Street) et Tom Hardy (Mad Max: Fury Road, The Dark Knight Rises), tourné dans un Canada sauvage et glacé, à la lumière naturelle, The Revenant est une histoire de vengeance, de survie et de ténacité face à la fureur de l'homme et de la nature. Le film est en passe de devenir un grand favori de la critique, à l'aube de la saison des récompenses... Inarritu a choisi de sacrifier presque tout dialogue à un paysage sonore splendide et à une musique majestueuse. Un film de cette ampleur méritait un compositeur compréhensif de la création artistique pure et des passions déchaînées. Le Maître japonais Ryuichi Sakamoto (Furyo, Le Dernier Empereur - Oscar de la meilleure musique de film) a rempli le contrat haut la main. Avec son collaborateur Alva Noto (notamment au sein du Yellow Magic Orchestra), Sakamoto a créé une bande originale captivante qui sera assurément la bonne surprise de l'hiver. L'album contient également la musique additionnelle de Bryce Dessner (compositeur pour le Kronos Quartet et le LA Phil).