Suche:gerardo

Following the digital release of the single “Meu Canto” in early February 2026, Gerardo Frisina and singer Luzia Dvorek return to Brazilian music with a new and compelling interpretation of a timeless classic, “A Lenda do Abaeté” by Dorival Caymmi; the release of this 45rpm single brings to a close a special project entirely dedicated to Bahia, the beating heart and symbol of Brazilian culture.

“Meu Canto” takes shape from an original composition by Gerardo Frisina, who signs both music and production, crafting a soundscape that is suspended between delicacy and depth upon which Luzia Dvorek - joined by songwriter Toco, whose refined backing vocals further enrich the song’s emotional dialogue - has drawn the melodic line and written the lyrics. A journey into roots and origins that tells the story of Luzia’s family, deeply embedded in the warm, fertile land of northeastern Brazil. “Meu Canto” sees also the participation of Alfonso Deidda on flute, whose airy timbre introduces new shades of color to the composition.

In “A Lenda do Abaeté”, the 45rpm B-side, Gerardo Frisina weaves an elegant and immersive rhythmic framework, evoking soundscapes that feel both deep-rooted and timeless. Within this setting, Luzia Dvorek’s voice unfolds with emotional intensity, balancing expressive strength and subtle delicacy as it narrates the ancient legend of the Abaeté lagoon. A place steeped in charm and mystery, suspended between myth and reality, whose stories have been passed down through generations in Salvador, in Brazil’s north-eastern region.

The project is further enriched by the acoustic guitar of Francesco Borrelli - who also took care of the tracks mixing and mastering - and Toco’s distinctive vocal contributions, which add depth and nuance to the overall sound.

Introduced by the digital single ‘Deixa Passar’, this 12” EP concretises on physical support the renewed collaboration between the two Schema Records artists Gerardo Frisina and Tomaz ”Toco” Di Cunto, working together again five years after the release of the EP “Frisina Meets Toco” (SCEP 487): the two unreleased songs here included, the aforementioned “Deixa Passar” and “Ilê”, are featured both in their original and reworked versions, and represent an excellent blend of samba jazz and Brazilian popular music. In both tracks, the music composed and arranged by Gerardo backs up the Portuguese language lyrics and melodic lines of Toco, who duets with Luzia Dvorek in an almost surprising contrast between serious and graceful sounds. The instrumental department features Gianluca Petrella on trombone, Eduardo Taufic on piano (Deixa Passar) and Fender Rhodes (Ilê), and Edu Moreno on flute (Ilê), in an excellent ‘union of opposites’, between popular music and modern sounds, between acoustic instruments and electronics, with mystical influences that envelop the songs with a mysterious and attractive aura. Not only musically, but also visually and lyrically, this EP is a tribute to the Brazilian culture and lands, already from a cover that re-imagines the iconic shapes of the famous Copacabana pavement in Rio De Janeiro: while “Deixa Passar” celebrates Rio’s carnival as an opportunity to momentarily free oneself from the burdens of life, “Ilê” recalls the traditions of Salvador De Bahia’s historic ‘bloco afro’ quarter called Ilê Aiyê.

"Marombo" is a new track written, arranged and produced by Gerardo Frisina, that anticipates his forthcoming album scheduled for 2020.

Seeing the participation of Gerardo's longtime collaborators Ernesto Lopez on drums and percussion and Alfonso Deidda on baritone saxophone, "Marombo" is another a solid step into the future to explore new music territories: a great mixture of nu-latin and electronic beats with Afro-Cuban rhythm into a massive dancefloor groove!

"Moving Ahead" by Gerardo Frisina is a double LP worth of new material that gathers together the various sounds that have characterized his entire production. A multiform album whose stylistic components are easily identifiable (Latin jazz, nu-jazz, Afro-Cuban, dub, electronic music) but that transcends any possible classification as a whole. As the title suggests, "Moving Ahead" is the mature continuation of a 20-year long solo career that once again demonstrates how Gerardo's creativity still manifests itself today at very high levels. Available as a 2LP-set and as a digipack CD with the exclusive bonus track "Mwanga".

Anticipated by the "Soul Drum" 12" EP (SCEP507, 2022), Gerardo Frisina's new double record "Joyful Sound" represents as usual another step forward inside his indefinite travel towards new musical paths. A journey made of wisely distilled notes, bright and sometimes mysterious atmospheres, harmonies that wander through shadows, silences, lights. A chameleonic Gerardo enchants with every release, mixing jazz, Latin, Afro-Cuban sounds, oriental fragrances, electronic beats, tribal percussions, funky variations and, dulcis in fundo, elegant symphonic arrangements with refined mastery.

For a prolific artist as Gerardo Frisina, almost two years without a new release from him seems like an eternity: this brand new 12" EP entitled 'Soul Drum' breaks the silence, giving us three new works composed by Gerardo, made up of four recordings if we consider the two versions of the title track.

This EP anticipates the full album already in the works, scheduled for release at the end of 2022.

Without losing his Latin trademark, Gerardo continues his research into hypnotic and pulsating rhythmic patterns in both acoustic and electronic form, which are now a fundamental stylistic element of his. As on his previous album 'Moving Ahead', the rhythmic style blends naturally with echoes of tribal voices, piano keys and wind instruments (trumpet, saxophone, flute), creating the 'Joyful Sound' (title of the forthcoming album) that reverberates on the surface. With an artist as meticulous as Gerardo Frisina, it is to be expected that even the simplest beat has been deeply thought out and chosen from a potentially infinite sound palette, and this can be heard perfectly in the depth of sound of the four tracks of this release.

"Soul Drum" is dedicated to the loving memory of bassist Enzo Frassi, who contributed to this EP - along with 'usual guests' Fabrizio Bernasconi, Gendrickson Mena, Alfonso Deidda and Ernesto Lopez.

"Frisina meets Toco" is the result of the artistic union of two main Schema Records' characters, Gerardo Frisina and Toco, spontaneously born from many listening sessions of Brazilian music LP's. The music contained in this 12" record stands in the middle between Rio and Bahia, merging together the Brazilian rhythmic culture and groove (Toco) with the modern sound of clubbing latin jazz (Frisina), and it's also enriched by the presence of the young pianist and composer Vitor Araújo and his peculiar signature style, particularly apparent in the instrumental version of the song "Craque".

A new Four Flies 45s series, properly designed for DJs, producers, and worldwide music lovers, and focused on the very best Italian library grooves from the golden age, finally released on 7-inch vinyl for the very first time. This first batch was made possible by a collaboration with our friends at Flipper Music, which gave us complete access to eight killer gems that will surely burn your dancefloor, selected from the most sought after DENEB/FLIRT/FLOWER/NUOVA IDEA/UNION albums.
Here we have the ultimate Italian library breakbeat: wicked synths, and cosmic electronic effects, marks the experimental hip hop beats of RULLIO by Ugo Busoni, sourced from the "Valvole" LP on the Nuova Idea label. On the flip side, one will find another rhythmic banger, VIOLENZA by Gerardo Iacoucci, taken from "L'Avventura N. 2″ – a psychedelic b-boy break with heavy bassline and percussive piano, echoing an urban soundscape full of drama and suspense.

"Luz da Joaca" is a track taken from S-Tone Inc. latest full-length "Onda", here retreated by the magic touch of Maestro Gerardo Frisina with his unique taste. A musical journey in two different movements, both in a Batucada style: the A-side exalts the original melody sung by Toco, while the B-side is a dub rhythm-focused version especially made for a DJ use. Once again Mr. Frisina gives us a sample of his skills as an affirmed producer and longtime collaborator of Schema Records!

With "Rhythmic Conversations" Frisina shifts the coordinates of his music to a more 'raw' soundscape, in which the rhythmic element stands in the foreground. Not just Latin-jazz dancefloor material then, but music with strong percussive and tribal elements. Music is perhaps the only truly effective language that allows people who speak different idioms to communicate with each other, and this is precisely what Gerardo Frisina's "Rhythmic Conversations" are about. Closing the record we have an alternative version of "Camagüey", a very different mix from the original one, in a particular Afro-Cuban music style called "Tumbao".

At the beginning of the 70s, in Italy, the revolutionary surge of 1968 was beginning to turn into something grimmer (and definitely not linked to left-wing ideology) but the concept of factory' still had a key role in the economic and social life of the country. It was not just an alienating workplace, where you often spent your whole life, but also - and overall - the place where demands were made and political struggles took place. Therefore, a feasible imaginary soundtrack for the factory was the daily noise of machines, tools, hammers: an idea that, years later, would be embraced by dozens of industrial bands all over the world. But, in 1972, that reality was documented by Gerardo Iacoucci: We went into factories and workshops and recorded the noise of the machines, then we put on it special musical effects and did an accurate mix', he tells in the liner notes. Industria N.1, divided in Fabbrica on the A side and Impianti meccanici on the other side, is an amazing work mixing field recordings and experimental music, proving how you can combine political commitment, art, avant-garde and pioneering noise music in a brave record.

Conceived, as its predecessors, as the ideal musical accompaniment to a packed dance hall, "Blue Latin" reinterprets a musical genre - jazz, of course! - which even decades ago was considered the dance music 'par excellence', and delivers it, extremely modernized, to the present day, contaminated by Afro-Cuban, Brazilian and Latin-jazz elements, all made fluid, compelling and above all..., danceable! The almost-meditative "Incanto" combines spiritual jazz influences and African atmospheres.



[C} A3 | Mulata

As one of the most enigmatic figures of the 1970's Italian soundtrack and library music network Emma De Angelis and her short recording career provides thirsty fans of speedball psychedelic rock and drum heavy instrumental funk with a tight discography rivalling many of the long-standing bastions of the otherwise male-orientated business. * Strictly limited to 1000 copies.*
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Born in Rocca di Papa, near Rome, into a flourishing musical environment Emma was the younger sister of future award-winning composers Guido And Maurizio De Angelis, a duo, who under names like Oliver Onions and Dream Bags, would write chart-topping lyrical theme tunes for a wide range of Italian crime, Giallo and Spaghetti Western films featured alongside full scores by Ennio Morricone and the Magnetic System composers (Bixio Frizzi Tempera).
With encouragement from her brothers, Emma, who would also write music under the pseudonym of Juniper, would record a tight clutch of solo-penned material and seldom credited studio contributions to Guido And Maurizio's film commissions, such as the score for Giuliano Carnimeo's Simone e Matteo: Un gioco da ragazzi (aka Convoy Buddies). While simultaneously pursuing a career as an illustrator and set designer the De Angelis family contacts would lead Emma to the offices of Romano Di Bari, whose up-and-coming Flirt label was finding success providing custom built mood music for use in TV and film. Alongside important composers like Alessandro Alessandroni, Gerardo Iacoucci and A. R. Luciani, the young Emma Di Angelis would record a small number of tracks for a compilation called Underground Mood (credited in the small print to E De Angelis - not to be confused with Italian singer Edoardo De Angelis). It is from this rare LP that the record you are now holding is compiled. Within the Flirt family of labels Emma De Angelis would also share schedules with other important female composers such as Daniela Casa and Giulia Kema' De Mutiis - both of whom have appeared on dedicated Finders Keepers releases.
The tracks on this record provide us with a rare glimpse into Emma De Angelis' short musical career before she became a full-time visual artist. With an unknown personnel or studio date it is easy to speculate a potential family jam in Piero Umiliani's Sound Workshop studio in 1972. One only has to take a listen to Guido And Maurizio's instrumental theme Gangster Story from Enzo G. Castellari's 1973 thriller High Crime (which later appeared on Tarantino's Death Proof soundtrack) or the trippy title theme to Paolo Poeti's kinky 1976 drama Inhibition to spot the family resemblance

Taken from 'Escandalo' by Perez Prado & Don Alfio,'Circle' was written by Mario Rusca and performed by
some amazing musicians such as Tullio De Piscopo, Hugo
Heredia and Pino Presti.
Perez Prado is Pantaleon Perez Prado, the younger
brother of the 'King of Mambo' who came to Europe in the
50s and recorded several albums with Unifunk.
'Circle' is a strong track with a killer groove and it's not
hard to imagine it as the perfect score for a car chase.

All tracks written & produced by Skudge.

B2 Remix by Konrad Wehrmeister

Mastered by Tangible Air.

Designed by Gerardo Corizzo.

Stickered cover.

repress !

Paranoid London, the electronic band of Gerardo Delgado and Quinn Whalley, has become synonymous with stripping acid house back down to its basics, rescuing the sound from smiley faces, rave, and sugary excess while paying respects to its gay, black, American roots. Performing mainly live with hardware only, often with vocal guests, as well as unique hybrid DJ sets, the duo has established a tongue in cheek, grumpy punk sound and attitude without taking it too seriously.

Following 2019’s latest album PL and a bunch of 12” singles and edits, their new long-player Arseholes, Liars, and Electronic Pioneers refers to the cavalcade of c***s we find ourselves surrounded by. Our only respite being the joy that musical geniuses bring. The cover artwork and gatefold of the vinyl reflect this with a collage-like poster including personalities of all kinds, from politicians and royalty to music legends. When we asked them to highlight key music pioneers from their picks, they mentioned American electro don Aldo Marin, British producer Andrea Parker and Post Punk band WIRE.

Inspired by early ‘90s British prog house on the likes of Sabres Of Paradise Records and Guerilla Records, the album presents a step up on their production while the anarchic attitude remains unaltered, unadulterated and undiluted.

In Quinn’s words: the album has a slightly more Hi-Fi sound than previous efforts, but retains the urgency and punk rock attitude that we're known for. It was tested over the summer, where it lit up festival stages at Glastonbury, Houghton, Love International, and many, many others.

As expected, PL has recruited a bunch of special guests on vocals including Primal Scream’s Bobby Gillespie, US house veteran Monica “DJ Genesis” Lockett, the novo-New Romantic/gothic, Jennifer Touch, and Joe Love, from Fat Dog, Brixton’s current ones-to-watch. As well, previous collaborators Josh Caffe and Mutado Pintado return for new recordings. All bring something unique to the party, while integrating perfectly with PL’s Fuck you! circuitry.

Moodena’s London-based imprint Tropical Disco’s latest offering is a shimmering journey into the heart of the underground, blending nu-disco, classic house, and contemporary electronic funk in a way that feels both nostalgic and totally fresh. Featuring four standout tracks from Vagabundo Club Social, Scruscru, Da Lukas, and Fun Kool feat. vocals from Bcleo and Anna Dee Tee, — the EP is a testament to the evolving sound of the dancefloor, where groove meets grit, and melody flirts with sultry rhythm. This release channels the spirit of sweaty basement parties, neon-soaked nights, and a collective desire to get lost in the music.

Opening the record is Colombian duo Vagabundo Club Social, presenting Latin-soaked funk colliding with shimmering brass instrumentation, creating a deep, rolling pulse that invites movement from the first beat. 'Zumba Z' is a track that feels right at home in a DJ’s warm-up set or closing down an all-nighter, with a hypnotic flow and vocals that seep into your bones.

Scruscru’s story pushes things deeper into late-night, cosmic territory. 'Konyaalti' is a lush, sun-drenched production, utilising sublime sax, Scruscru delivers a cut that's both playful and distinctly driving.

Da Lukas adds a sophisticated touch, remixing Rosario Cristofaro, and taking you on a slick ride that leans into Italo-disco influences. Swooning synths and crisp percussion form the backbone while gliding melodies create a sense of elevation. It’s elegant yet laced with energy, ideal for a peak-time set where the vibe is euphoric but refined.

Rounding off the release is veteran DJ and producer Gerardo Cinquegrana, whose playful Fun Kool moniker belies the serious funk he delivers in his production. German-born, and now Italy-based, Fun Kool’s sharp, syncopated rhythms and sexy vocal lines from Anna Dee Tee bring an irresistible groove to the forefront, with the kind of bassline that takes over your entire body and mind.

Altogether, 'Tropical Disco Volume 28' encompasses a record that’s both familiar and exploratory—rooted in the timeless grooves of disco and house but pushing forward into new musical territory and picking up sonics from different continents along the way. Whether you’re looking for late-night celestial cosmosis, sophisticated Italo-inspired dubs, or straight-up, no-nonsense funk, this release has something for every dance floor.

Upcoming album ‘Zwaluwe' to be released in May 2023.

Myrddin De Cauter, the youngest son of multi-instrumentalist musician Koen De Cauter, is a phenomenon in the world of contemporary music. As a teenager, he discovered the richness and originality of the flamenco guitar. To further develop the subtleties in his already masterful playing, he went to Spain to take lessons with some of the masters of flamenco guitar: Gerardo Nuñez, Manolo Sanlucar, …

His technical virtuosity, taste for experimentation and deep lyrical sensibility merge into a unique musical world. It turns out that Myrddin is not just a flamenco guitarist, but an exceptional multifaceted talent.
This talent, passed down through many generations, now expresses itself again in Myrddin's daughter Imre. At only four years old, she received her first cello. In 2018, she made her debut together with her father at the Gent Jazz Festival.

Now five years later, on their debut album Zwaluwe, together they take us on a journey that finds its origin in Myrddin's written compositions. Imre knows and feels the music of her virtuoso father like no other. She complements him in a sensitive, cutting and unctuous way. Making a perfect blend of sharp and soft. The album was recorded in a small chapel in remote Valouse, a village in the Drome region of southern France.

“While Myrddin tells mysterious stories and fairy tales with endless intervals of notes on his guitar, Imre hypnotises your soul with the sound waves of her cello.”

Nervous Gender’s legendary synthpunk LP Music From Hell burbles up from infernal depths to resurface on Dark Entries. Confrontational, unhinged, and unabashedly queer, Music from Hell is an unholy grail for fans of the strangest underbellies of post-punk, minimal synth, and early industrial music, and is presented here newly remastered and on expanded double LP.

Nervous Gender (de)formed in LA in 1978 at the hands of Phranc, Gerardo Velaquez, Edward Stapleton, and Michael Ochoa. Phranc, the androgynous embodiment of the band’s name, left in 1980. Following her departure, a wide cast of LA freaks would find themselves drawn into the band’s orbit, including Alice Bag of the Bags, Paul Roessler of the Screamers, the Germs’ Don Bolles, and an 8-year old drummer named Sven Pfeiffer. In 1980, Nervous Gender appeared on the seminal Live at Target compilation alongside Factrix, uns, and Flipper. With the band’s notoriety cemented, Music from Hell followed in 1981 on Subterranean Records (as no LA label would touch this material).

Side A, dubbed “Martyr Complex”, presents a more punk-forward sound with live drum salvos and slabs of aggressive synth. These twitchy, unsettling shockers ooze with the kind of snotty misanthropy that will endear them to fans of the Screamers or Crass.

Side B, known as “Beelzebub Youth”, is a live performance the band labeled "an electronic bruto-canto dissertation on the banality of spiritual transcendence." Mutant melodies cede way to synthesized clangs, whirs, bleeps, manipulated tapes, and howls of despair.

In addition to all the material from the original LP, we’re treated to a full disc of the band’s demos, the material from the Live at Target compilation, and early live recordings. Included are unrecognizable covers of Carly Simon and Lou Reed, and the Sex Pistols that are so despairingly skewed they fall into the void. This reissue of Music From Hell includes a 36 page lyric booklet, foldout poster, and gatefold sleeve with photos, flyers, and news-clippings designed by Eloise Leigh. Tackling taboo issues like sexual kinks, mental illness, drug use, and childhood molestation, Music From Hell is still surprising – even shocking - over 40 years after the album’s release. Nervous Gender stand as one of the most genuinely anti-establishment outfits in underground music, a colossal fuck you to social norms from religious strictures to gender essentialism.

Sonetos del Amor Oscuro is an ode performed by four enchanted souls who have intertwined their hearts and conjured harmonies and rhythms that wander endlessly among the spellbinding words of a poet from Granada... Federico García Lorca;
He wrung, pushed and vibrated words like tectonic plates, transforming plains into poetic mountain landscapes. He then covered them with a Moorish carpet of snow crystals and had them reflected by the dark locks of hair of a gypsy girl from Albaicín who, with a voice forged in gold and silver, sings her little sister to sleep with a soothing lullaby.

Helena Casella – vocals
Myrddin De Cauter – flamenco guitar
Stijn Kuppens – cello
Stefan Bracaval – flute, bass flute

Helena Casella, the Belgian-Brazilian vocalist with a deep, soft and warm voice, translates her multicultural background and personal thoughts into music in a passionate, soulful and refined way. With her roots in an exceptionally musical family, her music exudes this unique heritage. She effortlessly interweaves genres such as R&B, soul, hip hop and modern jazz, while remaining true to the vibrant sounds of Brazil, an essential part of her roots.
Her debut album was released earlier this year on W.E.R.F. records.

Myrddin De Cauter's music is deeply moving, complex, passionately rhythmic and deeply emotional. He has mastered the compás of flamenco, which gives him the freedom to converse with elements from jazz or classical music. His speed sometimes seems otherworldly, but those who take the time to listen closely to his music will quickly discover an immense world of pure emotion, beauty and tranquillity. After six albums and countless concerts, Myrddin proves that great virtuosos do not necessarily have to come from Spain. At the tender age of eleven, his father taught him to play the clarinet in jazz and gypsy swing style; he became part of the family orchestra and gained his first experiences on stage. A classical melody composed on the guitar prompted him to ask his father to teach him the basics of flamenco guitar. Soon after, Myrddin seemed ready for the real thing and went to Andalusia to learn from Manolo Sanlucar and Gerardo Núñez. This inspired him to compose in his own unique language, deeply rooted in the pure flamenco tradition but enriched by boundless creativity.

Stijn Kuppens is a cellist, composer and producer. In his own genre, which he describes as non-classical cello, he uses the cello in his own unique way. His profound knowledge of the complex history and techniques of the style is clearly audible: Kuppens' mastery of classical music is evident in every note he plays, whether he is performing solo or collaborating with other musicians. His skill as a musician and ambition to explore the boundaries of conventional classical music is evident in his ability to seamlessly blend different genres.

Stefan Bracaval is a classically trained flutist who graduated from the Royal Conservatory of Antwerp. His fascination with the expressive potential of improvisation led him to jazz, where he became a self-taught jazz flutist. Bracaval has collaborated on projects with prominent jazz figures such as Charles Loos, Bert Joris and the Brussels Jazz Orchestra. In addition, he worked as a soloist and arranger with the VRT Radio Choir in 2016. Bracaval leads the Stefan Bracaval QU4RTET, which emphasises the flute as a central jazz instrument and brings new repertoire rooted in jazz traditions.

Live
31/10/2025 – Café Silverio, Gent (BE)
15/01/2026 – Kloosterkapel Diepenbeek (BE)
16/01/2026 – ‘t Ey, Belsele (BE)
17/01/2026 – Sint-Luciakerk (kerkconcerten Merode), Engsbergen (BE)
23/01/2026 – Muziekcentrum Dranouter (BE)

Cartulis Music is thrilled to welcome back Z@p for his latest release, "Fizmo”, a powerful threetrack EP that further cements his reputation as a visionary in contemporary club music. Following the success of his last standout record on the label, “Tracid”, Z@p once again showcases his signature blend of intricate rhythms and deep, emotional soundscapes.

"Fizmo" explores different shades of energy, merging hypnotic grooves with a raw club-oriented approach. Each track unfolds its own story, striking a balance between intensity and finesse, while maintaining a strong identity that resonates on the dancefloor.

With this release, Z@p reaffirms his ability to push sonic boundaries while staying true to the ethos of underground electronic music.

Artwork by Gerardo Trotti

Shjva / Stereometrix The Praga Jam | Different Times (DIFF005)

A side written & produced by Shjva.
B side written & produced by Stereometrix.
Mastered by Tangible Air.
Designed by Gerardo Corizzo.
Stickered cover.

Virtuoso producers, DJ's, multi-instrumentalists and brothers Emanuel and Gerardo Cedillo, aka Soul Of Hex, present a sumptuous EP of essential house cuts on the lauded Mexican imprint Kilometro 4.5 featuring A-list appearances from Kuniyuki and "Mad" Mike Banks. This four-track record swells with life, soul and ideas; encompassing a heady mix of jazz, electro, soul, gospel and funk all channeled through a classic house lens.

DIFF004 Distributed by One Eye Witness.
All tracks written & produced by Dmytro Avksentiev.
Mastered by Tangible Air.
Designed by Gerardo Corizzo.
Stickered cover.

Comes with insert and download coupon.

Imagine a Latin remake of Back to the Future. The mad scientist is Arsenio Rodriguez (the godfather of salsa) and the young student who travels through time with him is Eblis Alvarez (Meridian Brothers). This album can only be described as the perfect soundtrack for that movie that never was.

After the massive buzz generated by his first solo album, Mentallogenic, Alex Figueira got back in the studio to work in a more collective fashion this time, carefully assembling the second album of his largest project to date, Conjunto Papa Upa; a team of 6 musicians, spanning 3 generations of some of the best talent in the Latin and avant-garde scenes.

In an era where tropical music is dominated by purely electronic and rhythmically uniform sounds, the ten songs encompassed in “Fruta Madura” (“Ripe Fruit”) wander through the most diverse tempos, rhythms, and motifs effortlessly. A real breath of fresh air that gracefully incorporates soul, funk, jazz, psychedelia, and electronics into a solid tropical, irresistibly polyrhythmic foundation, without ever succumbing to the many genre clichés.

The distinctive production and catchy songwriting of Figueira shine in a very distinctive light on this second full-length. Living up to his reputation (Miles Cleret, founder of Soundway Records, called him “one of the scene's truly authentic and eccentric producers”), he takes the opportunity to show he’s not afraid to keep walking his own path.

Taking the band for a wild ride through the traditions of Africa, America, and the Caribbean; contrasting them with a ridiculously wide plethora of vintage, contemporary, and futuristic sounds, and pivoting on the exuberant musicality displayed by his musicians; the result leaves no doubt: this album is destined to be considered a future classic of the exciting tropical psychedelic music of the 21st century.

Addressing the most diverse themes in this new collection of songs, things take on a much more mature tone, as the title clearly suggests.

The opening track “El segundo es más sabroso” (“The second one is tastier”) sets the tone in the most assertive way imaginable, with the band boldly declaring, through multiple metaphorical references (laid upon a crazy mix of Dominican merengue, Detroit techno, classic and free jazz, dub, and electro), that the bar will be set higher with this second album.

The remaining compositions touch upon the most diverse subjects, with a fair dose of humor, sarcasm, and postmodern “magic realism”. “El Algoritmo” (The Algorithm) is a parranda-cumbia hybrid (for lack of a specific term) about the omnipresence of technology in our lives. The sophisticated Latin soul of the titling track “Fruta Madura” makes a case for the beauty of the maturity process. Some key philosophical teachings of Marcus Aurelius (the role of causality, the impositions of “the logos” and the importance of self-control) get a twisted cumbia treatment on “Reos del Deseo” (Prisoners of Desire). “No le pongas Coca-Cola” (“Don’t put Coca Cola in it”) shows us the most satirical side of the band, accusing those who mix Coca Cola with Rum of committing "sacrilege", on a powerful base of Dem Bow (the grandfather of Reggaeton), intertwined with touches of soul, salsa, and Cuban comparsa.

"Háblame Claro" (“Talk to me clearly”) is a story of heartbreak that evokes in its first part the spirit of the erotic salsa of the 80s (a subgenre deeply despised by purists), and after an unexpected samba interlude, leads to the hardest salsa of the 70s (a subgenre adored by purists), to end up in the surprising form of pure Afro-Cuban ceremonial music.

“Tu mamá tenía razón” ("Your Mom Was Right") is an attempt to exalt the spirit of the Latin American soap opera in the key of “acid bachata”, to recount a real-life case, witnessed by the band on countless occasions: the partying woman who arrives at the show accompanied by her bitter husband, who obviously does not like to dance. A very cheeky song to talk about the very serious and pertinent topic of female empowerment.

“La misma vaina” (“The same thing”) with its indescribable blend of bantú, candomblé, and Mozambique rhythms with abstract synthesizers, is an ode to adventure in favor of the aversion to taking risks and seeking predictability.

“Amigas picadas” (“Salty friends”) is another humorous song recounting another real-life case witnessed by the band on countless occasions: a love encounter sabotaged by the girlfriend's friends, who all happen to fancy the same guy. A jazzy take on the ancient Dominican rhythm of pambiche (grandfather of merengue), with generous psychedelic touches, resembling the classy late 60s releases of Guadeloupe's legendary producer / label owner Henri Debs.

“Vinimos a hablar” (“We came to talk”) takes sarcasm to the highest level, to ridicule the absurdity (also experienced by the band firsthand) seen in live music venues where people pay a ticket to go and have conversations that could be carried out much better on any bar, where no band is playing. The music alternates between a delicate melody with loose, sparse percussion and a full-on, pumping Angolan semba, with a techno kick drum included; bringing things to an apotheotic grooving finale, where the peculiar swing of Venezuelan calypso from the Callao region is thrown on top of all the precedent elements; closing the album in the most uplifting, “end of the carnival parade” feel.

The artwork is a delicate and impactful oil painting by Colombian artist Kevin Simón Mancera, who has collaborated many times with the label before (“Maracas, tambourines and other hellish things” tape and the Lola’s Dice LP).

What the experts are saying:

“Alex (Figueira) dove into this work with a brutal cohesion between lyrics and synths. Timbre poetry, sound poetry (you name it). And that, superimposed on his always impeccable percussive base, confirms the title of “avant-garde visionary of our beautiful Latin music”".
EBLIS ALVAREZ (MERIDIAN BROTHERS)
“Papa Upa's infectious quirkiness is a balm against boredom. A mature album, but without an expiration date”.
GLADYS PALMERA

“Here there is a lot of strength, drum, cadence and psychedelia, lost dance rhythms, united in an intercontinental Latin/African/and Caribbean journey, a unique winning combination that we could consider the new “Ritmo Figueira”.
DISCODELIC

Conjunto Papa Upa are: 



Alex Figueira - Timbales, percussion, vocals. 

Gerardo Rosales - Congas, percussion, vocals. 

Ramón Mendeville - Bongos, percussion, vocals. 

Randy Winterdal - Bass.

Andrew Moreno - Guitar.

Nico Chientarolli - Organ, piano, synths.



All songs written by Alex Figueira. 

Arranged and performed by Conjunto Papa Upa. 

Recorded, produced, mixed and mastered by Alex Figueira at Heat Too Hot, Amsterdam.


All tracks written & produced by Michael Melchner.
Mastered by Tangible Air.
Designed by Gerardo Corizzo.
Stickered cover.

Repress!

Funkiwala Records presents the third in the series of "Lokkhi Terra meets"albums, with the London fusionistas creating another unique sound-clash, this time with ex-Fela Kuti keyboardist and legendary UK Afro-beat ambassador Dele Sosimi, and members of his critically acclaimed Afro-beat Orchestra.

This particular collaboration has been bubbling away for a few years now, teasing audience expectations with a handful of sold out shows each year in between both bands busy schedules.
Featuring the two pianos of Kishon Khan and Dele Sosimi – Cuban percussionists/vocalists Geraldo De Armas (Yoruba Andabo), Oreste Noda (Ariwo), Javier Camilo (Ibrahim Ferrer) - a horn section led by Justin Thurgur (Bellowhead) featuring Yelfris Valdes (Sierra Maestra) and Graeme Flowers (Kyle Eastwood) to name a few – this is an All-star cast.

Kishon Khan's Lokkhi Terra have over a number of years now been quietly establishing themselves as one of London's more unusual heavyweight outfits, described as "Stunning Headliners… A majestic multi-cultural blend of sounds… effortlessly builds bridges between rolling Indian raga rhythms, Afro-Cuban grooves, Acid Jazz/funk and free flowing improvisation" (Timeout London). Included amongst the band members are London's top Cuban musicians, adding their infectious rich musical history to the city's melting pot.
When the band wanted to explore Cuban links with another of their favourite traditions, Afrobeat, who better to bring in then one of the Afrobeat originators – maestro Dele Sosimi – "Sosimi creates some of the most bewitching grooves in modern African music" E Jazz News.
Bringing together two Yoruba speaking musics - with different accents, from different sides of the Atlantic - Havana meets Lagos in London – A Cuban-Afrobeat-Experience. CUBAFROBEAT.

All About Jazz 4star review

A younger version of London's Grand Union Orchestra, founded by world-jazz pioneer Tony Haynes in 1982, Lokkhi Terra was put together by keyboard player Kishon Khan in 2005. Both ensembles have made a specialism of jazz / South Asian fusion, with Lokkhi Terra also giving as much attention to music from Cuba, where Bangladeshi-born, London-based Khan lived for a while in the early 2000s.

Cubafrobeat, as the title foretells, is a blend of Cuban dance music and Nigerian / Yoruban Afrobeat—a fusion rendered seamless by the synergies existing between Afro-Cuban and Yoruban music, language and mythology. The album is Lokkhi Terra's third and partners the band with the keyboard player and vocalist Dele Sosimi .

A young-going-on-child-prodigy member of Fela Kuti's Egypt 80, Sosimi went on to become musical director of Femi Kuti's Positive Force, before relocating to London and setting up Dele Sosimi's Afrobeat Orchestra, the finest Afrobeat band outside Nigeria, bar none, now with a string of consistently engaging albums under its belt. Cubafrobeat features Sosimi as lead vocalist on all four tracks, and on Fender Rhodes on two of them. His singing plays a prominent role in the Afrobeat Orchestra, but, such is the whirlwind impact of the band in full instrumental flight, that Sosimi is often thought of first and foremost for his keyboard and arranging talents. That may change by the time 2018 is over. Cubafrobeat is the third album in as many months to feature Sosimi as guest vocalist, spotlighting the gravitas, air of mystery, intimacy and ferocity his voice can bring to an occasion.

The first of these albums was the genre-bending spiritual-jazz band Emanative's Earth (Jazzman). One of the stand-out tracks, "Ìyáàmi," features Sosimi making obeisance to the titular Mother Goddesses of the Yoruba spirit worlds. His raw and intense invocations carry the track for nine mesmerising minutes. Otherwordly is not the half of it. Next up was dub / reggae / jazz band Soothsayers' Tradition (Wah Wah 45s), which featured Sosimi as lead vocalist on the compelling "Sleepwalking (Black Man's Cry)." Earth and Tradition are both outstanding albums and have previously been reviewed here.

Cubafrobeat is a total stonking blinder, too. It is an effectively nuanced affair, opening with the fiery "Afro Sambroso" and closing with the relatively reflective "Rumbafro." Sosimi's vocals light up the music, as do the several solos from trumpeters Graeme Flowers and Yelfris Valdes Espinosa and trombonist Justin Thurgur (a member of both Lokkhi Terra and the Afrobeat Orchestra). Sosimi and Kishon Khan's intertwining Fender Rhodes solos on "Cubafro" are also a delight, as is the drum and percussion section throughout.

The sound of summer, for sure, Cubafrobeat has enough depth and variety to make it something for all seasons.

Songlines 4star review

Lokkhi Terra are one of London's most authentic groups. They are a Latin-flavoured collective whose keyboard player and bandleader Kishon Khan segues from percussive montunos to complex Bengali rhythms and back, with jazz chops sparking funky and outward-looking fusions. Their collaboration with Dele Sosimi, Britain's foremost Afrobeat ambassador, has been bubbling for a while; here four tracks at ten minutes see musical conversations that never lose their sense of flow. An extensive line-up of stellar players, including trumpeter Yelfris Valdés, conguero Oreste Noda and trombonist Justin Thurgur, highlights the genre-crossing potential of world traditions. Opener 'Afro Sambroso' showcases batá drums from Gerardo de Armas Sarria before the track links Cuban grooves with Afrobeat. 'Timbafro' crackles and sways via Khan's organ, Sosimi's vocals and Oscar Martinez's timbales. 'Cubafro' features dazzling interplay between Khan, Sosimi and Javier Camillo's Spanish-language vocals. 'Rumbafro' is all rumba choruses, Yoruba vocals and Afrobeat horns. Rooted in their sources, but with musical threads intertwining, separating and reconfiguring – with grooves at a premium – this is a fusion lover's dream

Returning to Phantasy for a triumphant fourth single, ahead of a debut album to be released later in 2023, Josh Caffe dons ‘Meine Lederjeans’ for a gloriously tight squeeze of electro-funk, accompanied by an unapologetically gritty, stroboscopic remix from Caffe’s frequent collaborators, Paranoid London.

Dialing the tempo down from the frenetic club play of previous releases ‘According To Jacqueline’ and ‘Do You Want To Take Me Home?’, ‘Meine Lederjeans’ finds the British-Ugandan DJ and performer melting into a hedonistic slow jam of Prince-indebted grooves driven by drum machines oozing Chicago spirit with additional playing from Alex White of cult groups Fat White Family and Saint Leonard. Celebrating and subverting queer tropes in double measures, ‘Meine Lederjeans’ is an exquisite blend of soul and sexuality.

Paranoid London, the duo of Gerardo Delgagdo and Quinn Whalley (Caffe’s principal studio partner, and producer of ‘Meine Lederjeans’) deliver a characteristically merciless remix of Caffe’s original, looping their vocalist into an acid-soaked stupor. Throbbing, insistent, maximal yet minimal, this is PL in particularly raw form.

This is the first record issued by new label A.MA Edizioni from Bari, a mini lp with four tracks written, produced and arranged by DJ and producer Gerardo Frisina. Production is exclusively on vinyl but the music is not limited to the dance floor. Each track has its own well-defined identity: Burak is characterized by ethnic rhythms evoking an intense atmosphere of oriental flavors. Zagara is the track that is closest to Gerardo Frisina's past productions,the brasilian sound is enhanced by the vocals of Francesca Sortino and interplay between the flute and piano. On the AA side, Michael's Vision displays striking jazz influence. The atmosphere generated by strong rhythmic impulse is reinforced by the tenor sax improvisations of Germano Zenga and refined by the piano work of Giovanni Guerretti. In the Burak Jazz Version the track is embellished in a jazz style with soprano sax, electric piano and vibraphone, maintaining the original concept but creating a perfect listening experience.

Personnel:
Germano Zenga Tenor Sax/Soprano Sax
Giovanni Guerretti piano/electric piano
Francesca Sortino Vocals on Zagara
Alexandra Savage Flute on Zagara
Joseph S. Wilson Bass
Paul Herrera Drums

Invada Records präsentiert den Soundtrack zu 'UNDERGODS' - dem Spielfilmdebüt des in Großbritannien lebenden, spanischen Musikvideo-und Werbespot-Regisseurs sowie Drehbuchautors Chino Maya.
Eine dystopische Reise durch ein futuristisches Europa im Niedergang.

Musik von Wojciech Golczewski, Francis Lai, Software, Thierry Durbet und Gerardo Carreras.

Limitiert auf insgesamt nur 1000 Exemplare
Gepresst auf "Concrete Wasteland" Marmor-Vinyl
Verpackt in einem Deluxe-Sleeve mit doppelseitig bedrucktem Insert

‘X’ is the first new music from Working Men’s Club
since their acclaimed self-titled debut was released
in the autumn of 2020. The album was the band’s
perfect statement of intent, ‘X’ is the delivery, the
message, the action.
 ‘X’ rides on a sustained attack and gives way to a
glorious synth heavy release of a chorus that’s just
biding its time for a summer of discontent and
dancing. This is the sound of your new favourite
band hitting their stride. Count the days ’til you can
see them in a field or in a club again.
 Self-produced by Syd Minsky and once again
mixed by Ross Orton, ‘Y’ is a synth heavy assault
which picks up where X left off before venturing off
into deeper acid-laced territory.
 Following the 7” release of ‘X’, the first new music
from Working Men’s Club since their acclaimed
self-titled debut was released in the autumn of
2020, the band share remixes from Paranoid
London and Minsky Rock.
 A side project of Syd from the band and producer
Ross Orton, the Minsky Rock remix channels the
energy of the primetime Detroit electro of Aux 88 or
Cybertron, while Paranoid London, the duo made
up of Quinn Whalley and Gerardo Delgardo, turn in
a bubbling 303 drenched acid workout.