House News

The Mangue Labelheads are pushing forward and proove that the label has a pretty unique sound - straight and very melodical. And again they welcome Microtrauma (Traum Schallplatten, Microtonal)
for another hot remix. Played & supported by Stephan Bodzin, Alexi Delano, Gabriel Ananda, Paco Osuna, Daniel Sanchez, Anderson Noise, NTFO, Oscar and many more.

New Wave and Afrofuturism

With a unique mix of music roots and cosmopolitan sounds Jaime Roos would become one of the most successful and significant artists of Uruguayan music.
Released in 1984, Mediocampo absorbs the new wave trend in a unique way, blending the sounds of synths and electric guitars with Afro drums and Latin rhythms. The songs jump from candombe to rock, from ballad to murga roots, from pop to experimental music. The album paved Roos’ path to stardom in Uruguay and is considered nowadays as one of his most substantial works.

500 copies. 140 gramms vinyl, 12 page booklet included!

The Jaxx are back. Released for the first time on vinyl, Basement Jaxx 'The Singles' spans everything from the proto punk garage of early hit 'Flylife' to the Motown monster that is 'Good Luck', taking in worldwide smashes like 'Red Alert', 'Where's Your Head At', 'Rendez Vu' and 'Romeo'.

Where most greatest hits albums fall down at least once there can be no argument that this collection delivers the bangers and nothing but.

Basement Jaxx 'The Singles' is both a timely reminder of just how much the Jaxx have turned dance music inside out and the nonchalant ease with which they continue to drop new ever more exciting sub-cultural car crashes on airwaves and dancefloors around the world.

Yellow and blue vinyl with download code.

HIGHLIGHTS Juan Piña Con La Revelación is the debut album of this Colombian artist and his eight-piece band, originally released in 1975 on Discos Zeida. An excellent little slice of Colombian mid-70's madness, with an interesting and joyful sounding mix of New York style salsa, Cuban son montuno and guajira with Colombian tropical flavors. Includes the two hot salsa tunes 'Negro con salsa' and 'Chana' as well as the salsa guajira 'Hogar campesino'. This hard to find album is now reissued for the first time, pressed on 180g vinyl and presented in its original artwork. DESCRIPTION At the age of 24, Juan Piña formed the eight-piece La Revelación with his brother Carlos, releasing their first album in 1975 on Discos Zeida. This self-titled debut LP of Piña with his group is something of an anomaly in his discography as subsequent albums would feature a different sound and concentrated almost exclusively on Colombian coastal Caribbean and 'sabanero' genres. Although Juan Piña's debut record never made much of a splash, it is an excellent little slice of Colombian mid-70's madness, with a very diverse sound. An interesting and joyful sounding mix of New York style salsa, Cuban son montuno and guajira with Colombian tropical flavors, the simple, spare arrangements featured electric guitar, piano, Latin percussion, two trumpets, occasional sax, and Juan sang lead while Carlos backed him on chorus. It also sounds like Joe Arroyo may have done 'coro' chores on Juan Piña Con La Revelación (Arroyo was a very close friend of Juan and sang chorus on several Revelación albums). This album is hard to find in the original edition, but collectors in the know treasure it for its two hot salsa tunes ('Negro con salsa' and 'Chana', both written by famous Chocoano composer and vocalist Alfonso Córdoba "El Brujo") as well as producer Rafael Mejia's salsa guajira 'Hogar campesino' and the genius rendition of the Peruvian classic 'Virgines del sol'. A beautiful and mature sounding work for the relatively young Juan Piña and his crew, and well-worth rediscovery by today's Colombian music enthusiasts. Pablo E Yglesias DJ Bongohead of Peace & Rhythm

HIGHLIGHTS First ever reissue of "Kabwlú", a very hard-to-find album released by Discos Fuentes in 1965. The mysterious Los Picapiedra (which translates as The Flintstones, inspired by the 1960s American cartoon show), was a short-lived studio group with one albumto their name, "Kabwlú", mixing 'folkloric' and 'modern' elements with calculated 'caveman' humor. It is very musically diverse; not only are there the requisite genres that could be found on similar Colombian teenage-oriented groups' records of the time, such as cumbia, gaita, rock, twist and pachanga, but there is also a smattering of surf, doo-wop, Latin jazz, guajira, ska, and calypso. But what makes the whole thing so special is the odd, off-kilter arrangements, spooky tunings, rudimentary clanging percussion, invented 'cave' language, prominent twanging electric guitar and many zany sound effects. Several of Los Picapiedra's songs became very popular in Colombia as well as Venezuela and especially in the 'rebajada' (slowed down) version as played by the 'sonidero' sound system DJs in Mexico, such as "La Hossa". Presented in its original artwork and pressed on 180g vinyl. Part of Vampisoul's reissue series of classic Fuentes LPs. DESCRIPTION While Discos Fuentes was known for recording all sorts of interesting sounds from traditional folkloric Colombian music to the latest popular international styles, every once and a while they would put out a "novelty" record, perhaps to exploit a passing fad, and at times the label would green-light something strange or even outlandish. Many of those left-field releases have their merits and have subsequently become collectors' items over the years. One such case is the mysterious Los Picapiedra (which translates as The Flintstones, no doubt inspired by the 1960s American sitcom cartoon show), a short-lived studio group with one album to their name, "Kabwlú" (an unpronounceable, invented "caveman" term that is also untranslatable, but seems to have been the 'traditional rhythm' of Los Picapiedra's 'homeland'). What is interesting about the record is that it is very musically diverse; not only are there the requisite genres that could be found on similar Colombian teenage-oriented groups' records of the time, such as cumbia, gaita, rock, twist and pachanga, but there is also a smattering of surf, doo-wop, Latin jazz, guajira, ska, and calypso. But what makes the whole thing so special is the odd, off-kilter arrangements, spooky tunings, rudimentary clanging percussion, invented 'cave' language, prominent twanging electric guitar and many zany sound effects. Much like its namesake American cartoon The Flintstones, "Kabwlú" trades in creative anachronism, mixing 'folkloric' and 'modern' elements with calculated 'caveman' humor that works on many different levels. For instance the title tune seems to have been inspired by the pachanga craze and recalls the vibe of Ray Barretto's massive 1962 hit, 'El Watusi', but it has a certain joyful simplicity and rock-solid underpinning that elevates it beyond mere novelty or exploitation - and argues for its timely reissue for today's audience. The band was a studio invention that had no major significance in Medellin's live music activity. However, several of Los Picapiedra's songs were very popular in Colombia as well as Venezuela and especially in the 'rebajada' (slowed down) version as played by the 'sonidero' sound system DJs in Mexico, such as "La Hossa". Pablo E Yglesias (aka DJ Bongohead, Peace & Rhythm) Additional research by Luis Daniel Vega

In September 2019 Matasuna opened the treasure box and reissued two rare original versions from the Peruvian band Bossa 70 for the first time on 7inch. With the new release, two more songs from their popular self-titled album will be officially reissued on a 45.
The songs were transferred from the original master tapes and got a new mastering.

Matasuna invited the US-American DJ & Producer Retro Roland Riso to put his hands on the original versions to create two reworks, which are suitable for today's dancefloors. Roland is almost a veteran of Philadelphia's nightlife and can look back on a 20 year career as a radio host, promoter, DJ and producer.

Nilo Espinoza Vascones or better known under his artist name Nilo Espinosa is without doubt a Peruvian saxophone and flute legend. After a classical musical education he entered the music scene in the early 1960s. In 1966 he founded the band Los Hilton's with some of the best Peruvian musicians including the gifted piano player Otto de Rojas. In 1967 they recorded the first and only LP of the group, which was released in a small edition in Peru.

Their concerts were more and more influenced by Jazz and Bossa Nova, so in 1968 they changed the band's name to Bossa 70.
In the record label's office Nilo met the Afro-Peruvian Carmen Rosa Basurco, who also loved Bossa Nova and could sing in Portuguese and English. From then on she was the main singer of the band.

Bossa 70 recorded four songs for a 7-inch EP in an edition of only 100 copies, which was given away for promotional purposes at concerts and to friends & family. In 1970 they recorded their self-titled LP which reflected a mixture of Bossa Nova, Latin Jazz and Funk. The label pressed only 300 copies, which were sold out very quickly. This LP was the band's only album and is a rare piece of Peruvian music history.

Think on the A-side is a great cover version of the same named song by Souldiva Aretha Franklin from 1968. Bossa 70 gave the song it's own touch and in their instrumental version they put the focus on the brass parts, bassline, wild guitar solos and an upbeat rhythm.
Retro Roland Riso's rework puts even more pressure on the song, creating a bomb for the dancefloor!

Get Out Of My Way on the flipside is another fantastic cover version of a fabulous Latin/Boogaloo song of Joe Torres from 1967.
The Retro Roland treatment remains true to the original arrangement, but he spices up the song in his Regroove with a big dash of breaks and percussions. Another weapon for every DJ bag!

collecting orders for repress

Creole Soul!" Two words are enough for David Walters to qualify his music. The exclamation point to support radicalism and faith in its purpose.
A lapidary definition behind the doors of which hides the maze of a culture that crosses the oceans, connects continents and islands by an invisible but powerful thread. A deeply ingrained bond that allows Africa, America, Europe, and the Caribbean to converse with each other with a language as universal as music, dance, carnivals, or ceremonies.

Spread on the globe; the different creole cultures find a point of convergence where they are all represented: New York.
In this city, where motivated by his friend photographer JR, he once gave a concert in the street, David Walters decided to set the scene for his new album.

After five years of traveling the world, meeting musicians for the TV show “The New Explorers” (Canal +), it is around this hyperactive city that he chose to shine his Créole Sun. To imbue his music with the state of mind and aesthetics that reigned in the 70s and 80s.
While in 2018, he soloes produced Nola Is Calling (an album recorded in New Orleans with the Creole community of Black Indians, selected by Gilles Peterson in the best of 2019 on BBC 6). That’s with the essential contribution of the musical mastermind Bruno “Patchworks” Hovart (Mr. President, Voilààà Sound System, Da Break ...) that David produced Soleil Kreyol.

More than a musical partner, Patchworks turned out to be the sound engineer David was looking for. The second part of an ideal pair, the one with whom, set on the same frequencies, he wrote, composed, recorded, played all the instruments. Thought all the arrangements, tweaked the details as carried by a continuous breath. Or rather a light. The “Soleil Kréyol” (Creole Sun).

Joe Claussell joined the MUSHROOM HOUSE series! The New York City DJ and music originator made one of his rare remixes. For the Toy Tonics series. Claussell is a pioneer. Blending African and Brazilian rhythms with Disco and House since the early 1990ies. Inspiring the music world with his labels Spiritual Life Music and Ibadan records and with his legendary Body & Soul parties that he run for 6 years with Francois K and Danny Krivit in NYC. For Toy Tonics he remixed an obscure afro funk song by German Afro - Kraut Band Karl Hector & The Malcouns and Nicolas Tounga, singer from Burkina Faso. The original song was released on a limited 7 on Now Again records/ L.A. in 2008. Sold out for a long time. Claussell's remix is an amazing 11 minutes afrotechno jam. A great journey though styles. Also on this EP: Night Masquerade by Vito & Druzzi. Again: NYC guys. You might know the boys also for beeing part of The Rapture/ DFA. Since a few years they produce electronic music under the name of Vito & Druzzi. Part of New York's Throne of Blood crew. Some might remember their vocal contribution for Joakim's Bring Your Love. On their track for Toy Tonics they go tribal. Somewhere between Steve Reich inspired Gamelan pattern, smooth flowing over a 4/4 beat top by a nasty, 1970ies Funk synth solo that turns the whole track into a new direction. Third track is by Kapote, man behind Toy Tonics and owner of many great records with hot samples. His Besamo Fly is a 110 Bpm slow house jam - makes you think about Mexican beaches or Paris Filter House nights of the 1990ies..

Tropical psych outfit, Lola’s Dice, return with an exhilarating double AA side 45 on “Cacri 'e Playa” b/w “Señor Cartujo” . Venezuelan strains of Caribbean rhythms blend with South American grit and humour; aided and abetted by studio maverick and renown bandleader Alex Figueira ( Fumaça Preta, Conjunto Papa Upa).

Lola’s Dice, an ensemble born and battle-tested by years of punk and hard rock before fusing into its current form, a consolidated tropical-psych quartet. The band’s evolution has resulted in music that is a pure body-moving delight — a fuzzy blend of guitars, synths and musical sabor that is very much rooted in the percussive sounds of Latin America, where all band members hail from, yet still comfortable in its punk-ethos.

One such fusion of sounds took place at the Barracão Sound studio in Amsterdam where they first asked rhythm sensei Alex Figueira (who currently joins them on stage whenever his agenda allows him) to help them twist their sound and bring it into the incendiary tropical realm his production work was known for.

Together they vandalized all sorts of rhythmic traditions. The resulting 4-track EP, “Viaje al Centro de Ritmo”, was a perfect match of genre-defying psychedelic madness and Caribbean cool and was duly signed and released by on-the-pulse NY based Names You Can Trust label.

After two years and a plethora of stages Lola’s Dice returned to Figueira's Barracão Sound for another dose of experimentation, diving deeper into their Caribbean roots and twisting them even further. The first fruits are now offered for release jointly by Names You Can Trust (later this year) and Figueira’s own Music With Soul.

The African Caribbean vibrations of “Cacri 'e Playa” tell a story of a stray dog whose sole habitat consists of the beach. A common phenomenon all across the Caribbean coastline shared by Venezuela and Colombia. Wonky synths and surf guitars interplay over a stomping extra syncopated drum beat. All things collide towards the end into a 1970’s style Salsa street party, the relentless cowbell driving everyone forward.

On the flip, “Señor Cartujo” contains a humorous tale about the most popular brand of anise liquor in Venezuela ("Cartujo") and a shameless ode to the glory days of "Techno Merengue", when Latino rappers in the US started making Dominican Merengue with hip hop influenced vocals and house production techniques and equipment. Lola’s Dice, however, take a more psychedelic approach to this merengue, oozing with funky guitars and percussion.

(CLÁSSICOS EM VINIL) Som Imaginário was a famous Brazilian group responsible for support the singer Milton Nascimento. The group released 3 albums between 1970 and 1973.'Armina' and 'Matança Do Porco' are the keytracks, Progressive pearls lost in the haze of time. This is one of the true Brazilian classics.

TRACKLIST A1. Reciclo A2. Se Proteja A3. Redescobrir A4. Rastros Raros A5. Pelo Sim, Pelo N–o B1. Cinzento B2. Nada Existe B3. Posto 9 B4. Só Penso Em Jazz B5. Lugares Distantes INFO Marcos Valle launches in LP the new album "Cinzento" (Deck). The record, due to its minimalist design, with little instrumentation and different grooves, refers to his 1973 "Previs–o do Tempo". "Cinzento" comes with new partnerships such as Moreno Veloso (on the track "Redescobrir"), Bem Gil ("Se Proteja"), Kassin ("Lugares Distantes"), Zélia Duncan ("Rastros Raros") and Domênico Lancelotti ("Pelo Sim, Pelo N–o"), among others. Renowned rapper Emicida collaborates on two songs, sharing vocals with Valle. The partnership between the musicians came about through a suggestion by journalist Marcus Preto. Once the connection was set, Valle went to know better the S–o Paulo-born musician work and sent him a melody. Hence the two prospered the collaboration that culminated, even, with the title track. Produced and arranged by Marcos Valle himself, "Cinzento" was recorded at the Tambor studio (Rio de Janeiro) and hits shelves on vinyl as a Polysom release.

LTD COLOURED VINYL EDITION

Exclusive Cargo Records Edition! 300 copies on orange vinyl! HIGHLIGHTS Recorded in Brazil after spending the late 70s in the US, Marcos Valle brought together his innate talent and diverse influences on this irresistible record bursting with groove. Among a selection of top musicians, the line-up features Lincoln Olivetti & Robson Jorge and Leon Ware. Includes the Brazilian boogie anthem 'Estrelar', Marcos Valle's biggest hit from the 80s and one of the most celebrated songs in his entire career. The album is full of soaring disco tracks, killer vocal boogie numbers and blissing instrumentals over a well-balanced tracklist that satisfies both the listening pleasure and the dancefloor needs. Essential! Presented in facsimile artwork and pressed on 180g vinyl. DESCRIPTION Marcos Valle is one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you. By the late 60s he had already put out enough quality records to secure a place within the top Brazilian songwriters of all time, but his career luckily did not stop there and he continued releasing amazing music over the following decades until this day. He settled in Los Angeles in the mid-70s, tired of living under Brazil's military dictatorship, and started to collaborate with such talented artists as Leon Ware or Chicago. This self-titled LP from 1983 is the follow-up to the great "Vontade de rever você" (1981) and his second album after moving back to Brazil. It shows all the music influences received during his US years, especially boogie, soul and funk, featuring stellar collaborators: Lincoln Olivetti & Robson Jorge on keyboards and guitar and Leon Ware on backing vocals. The opening track, the Brazilian boogie anthem 'Estrelar', is Marcos Valle's biggest hit from the 80s and one of the most celebrated songs in his entire career, making clear that what he accomplished while in LA would now make its way into Brazil. 'Estrelar' is devoted to workout exercises under the sun and Valle pictures a beach lifestyle and summertime vibe across the entire album that pretty much describes his surfing days in Southern California. A couple of early Valle's classic songs, 'Samba De Verao' and 'Viola Enluarada', are updated here to sit nicely next to soaring disco tracks, 'Para Os Filhos De Abraao', killer vocal boogie numbers, 'Dia D', and blissing instrumentals, 'Naturalmente'. And the list goes on and on over a well-balanced tracklist that satisfies both the listening pleasure and the dancefloor needs. This is an essential album for lovers of 80s cool sounds and the work of Leon Ware, who is the co-writer of three songs in the LP, including the massive 'Estrelar' that was first drafted when both artists were working together in the States and then recorded again when Valle returned to Brazil.

Sky Miles Volume 1 is your round trip ticket from Stockholm to Osaka, making stops in Savannah and Rio. We expect a smooth flight, so sit back and relax.

Bobby Bricks (Dream Time, Sweden) will prepare us for liftoff. Please pay attention as our crew demonstrates the safety procedures. 'Orchid Island' is an enchanting and uplifting number that conjures images of clear skies ahead, mysterious and magical. An ideal starter to our journey.

The crew will be around shortly with drinks, so ease into Séculos Apaixonados (Future Times/40% Foda/Maneirissimo, Brazil) slow burning 'As Velas da Cantareira (DJ Guerrinha Mix)'. Low BPMs and timely synth stabs bring this bright, leisurely track from Corcovado to your turntable. Great for beginning of the night drinks or post sunrise warriors.

As we reach cruising altitude, C Powers (Sweat Equity/CGI, USA) wonky 'Sky Miles' gets you moving in your seat. The Captain has turned off the fasten seatbelts sign so feel free to dance around the cabin. Breezy production with playful percussion makes this one dance floor ready.

When we begin our descent, please make sure your seat backs and tray tables are in their full upright position. Roy Comanchero (Running Back, Japan) 'Moon Hike' welcomes us to Kansai International Airport, where the local time is shortly after midnight. It's gradual, introspective pulse rejuvenates the listener after a long trip and prepares you for the night ahead. Be sure to check around your seat for any personal belongings and use caution when opening the overhead bins.

On 150 gram vinyl from Brooklyn Phono and mastered by Dietrich Schoenemann.

Cocada, a project which emerged as a diffuser of the musical talent present throughout Latin America, quickly spread its sounds to the four corners of the world, becoming a great initiative for electronic music. We couldn't be happier by this time, Cocada's first release as a record label is born with some respected artists and a beautiful story behind.

The wonderful artwork was illustrated by the Brazilian artist Paula Dornelles, who dedicates herself to the production of experimental artworks, she was able to convey through all her creative potential the depth of the meaning present in the word "freedom", a small sample of Latin American talent also in the visual arts.

On the album, who begins the work is the Brazilian duo, Diogo Vaille and Marcelo Abreu aka Bruce Leroys, with "Liberdade" (Original Vocal Version), a rework of a classic MPB song. The artists managed to perfectly merge the melancholy voice present in the song with a deep and dense bass line, bringing all the emotion present in the lyrics, causing goosebumps.

However, the duo isn't alone in this release. None other than Ricardo Villalobos has also left his trademark with a great remix, featuring fuller grooves and inserting multiple textures for the track.

The marvellous Chilean blooded "Llovizna", produced by the talented Felipe Venegas & Francisco Allendes was originally released in 2009 on Cadenza 40th vinyl release. We are delighted to celebrate the 10th anniversary of its publication with a crisp remix by the mighty Luciano and a rework hot off the press by its original writers. Furthermore, there will be another heavyweight remixer,a big surprise and an appreciated comeback: Loco Dice need no introduction, and his remix of this Cadenza classic leaves us speechless. A magnificent bond of the original latin vibes and astonishing peak-time sound manipulation with a relentless pace. The remixes and the rework will be released both on a vinyl E.P. and in digital format.
"Llovizna" is a track with an indissoluble bound with Cadenza's South America roots, a bound perpetually fortified by the origin of many of the artists involved with the label, and by the choice to host amazing massive events in Chile and in the rest of the continent. A funky bass line and full- bodied reverberating jazz drums make out Luciano's bubbly and shiny remix. The cutting edge climactic sequencing of its synthesisers and the seasoned use of percussive breaks and fills exalt the emotional interlude of the folkloric female Latin chant, just before a fully fledged dancefloor oriented restart.
The rework delivered by Felipe and Francisco starts off banging with a resolved bass drum, rattling shakers and fierce hi-hats. Subtle melodies slowly raise from its minimalistic framework revealing in advance all the sweetness of its Andean singing. A majestic rework, which resonates far beyond from a dj tool aftertaste.

LTD COLOURED VINYL EDITION

Exclusive Cargo Records Edition! 300 copies on orange vinyl! HIGHLIGHTS Recorded in Brazil after spending the late 70s in the US, Marcos Valle brought together his innate talent and diverse influences on this irresistible record bursting with groove. Among a selection of top musicians, the line-up features Lincoln Olivetti & Robson Jorge and Leon Ware. Includes the Brazilian boogie anthem 'Estrelar', Marcos Valle's biggest hit from the 80s and one of the most celebrated songs in his entire career. The album is full of soaring disco tracks, killer vocal boogie numbers and blissing instrumentals over a well-balanced tracklist that satisfies both the listening pleasure and the dancefloor needs. Essential! Presented in facsimile artwork and pressed on 180g vinyl. DESCRIPTION Marcos Valle is one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you. By the late 60s he had already put out enough quality records to secure a place within the top Brazilian songwriters of all time, but his career luckily did not stop there and he continued releasing amazing music over the following decades until this day. He settled in Los Angeles in the mid-70s, tired of living under Brazil's military dictatorship, and started to collaborate with such talented artists as Leon Ware or Chicago. This self-titled LP from 1983 is the follow-up to the great "Vontade de rever você" (1981) and his second album after moving back to Brazil. It shows all the music influences received during his US years, especially boogie, soul and funk, featuring stellar collaborators: Lincoln Olivetti & Robson Jorge on keyboards and guitar and Leon Ware on backing vocals. The opening track, the Brazilian boogie anthem 'Estrelar', is Marcos Valle's biggest hit from the 80s and one of the most celebrated songs in his entire career, making clear that what he accomplished while in LA would now make its way into Brazil. 'Estrelar' is devoted to workout exercises under the sun and Valle pictures a beach lifestyle and summertime vibe across the entire album that pretty much describes his surfing days in Southern California. A couple of early Valle's classic songs, 'Samba De Verao' and 'Viola Enluarada', are updated here to sit nicely next to soaring disco tracks, 'Para Os Filhos De Abraao', killer vocal boogie numbers, 'Dia D', and blissing instrumentals, 'Naturalmente'. And the list goes on and on over a well-balanced tracklist that satisfies both the listening pleasure and the dancefloor needs. This is an essential album for lovers of 80s cool sounds and the work of Leon Ware, who is the co-writer of three songs in the LP, including the massive 'Estrelar' that was first drafted when both artists were working together in the States and then recorded again when Valle returned to Brazil.

To call Marcos Valle 'a legend' of Brazilian music is much more than just easy press-release hype. As singer, writer, musician and record producer, Marcos has played an integral role shaping the sound of the country’s music from the 'golden era' of the 60's and 70's, through to the modern day. Alongside his brother, Paulo Sergio Valle, they have penned a huge catalogue of classic songs, not just for themselves but for other greats such as Elza Soares, Astrud Gilberto, Claudia to name a few.

‘Braziliance!’ takes things back to the early heady days of Marcos’ career with the bright and optimistic sound of Rio's Bossa Nova scene. It includes an instrumental version of ’Crickets Sing For Anamaria’ or 'Os Grilos’ in Portuguese, which would also be re-recorded with vocals. Though only in his early twenties at the time, ‘Braziliance!’ depicts very sophisticated production for a musician so young. Recorded in 1966, produced by Louis Oliveira and Ray Gilberts with arrangements by the very talented Emir Deodato, the album was released on Warner Bros. Records.

The artwork presents a very clean-cut, wholesome looking Marcos but darker things were around the corner for Brazil. The ‘Tropicalica’ movement was on its way and about to shake thighs up both musically and politically.
Unlike some of his Bossa Nova contemporaries, Marcos continued to stay relevant, surfing the changes and adapting to the musical developments that culture and society projected and needed, without comprising his art. Under exclusive license to Light In The Attic Records & Distribution, LLC | Mr Bongo Records.

Unavailable for years, the reissue of Kassav’ legendary first album released for the RSD. Founding album of the modernization of Guadeloupe music, it will give birth a few years later to the global zouk phenomenon. This version gathers for the first time the original version as the American version of the album (4 different tracks).

A re-issue of 2005 Grammy-nominated album by R&B and funk legends ‘Earth, Wind & Fire’. Never released before on vinyl, the album features collaborations with Destiny’s Child’s Kelly Rowland, Outkast’s Big Boi, will.i.am and Kenny G. The album rose to No. 8 & 32 in the US R&B/Hip-Hop and Billboard 200 charts respectively. This 2020 re-issue also features two previously unreleased bonus instrumental tracks. Territory: World ex China.

In 2003 Ibrahim Ferrer released his Grammy-winning second solo album ‘Buenos Hermanos’, an audacious and assured album firmly rooted in tradition but at the same time expanding the horizons of Cuban music in the 21st century with its varied repertoire and modern sound. For this very special edition release, producer Ry Cooder has revisited the original mixes and added 4 previously unheard tracks, recorded at the original album sessions, to a brand new sequence - creating a completely reimagined ‘Buenos Hermanos’.

Featuring Buena Vista stars Orlando ‘Cachaíto’ López, Manuel Galbán and Angá Diaz, a guest appearance from The Blind Boys of Alabama, Ry Cooder on guitars and the esteemed Chucho Valdés on piano, the Grammy-winning album’s varied repertoire includes fresh takes on classic songs and thrilling examples of the romantic ballads and boleros for which Ferrer is justly famed.

“Ferrer is on stunning form, coaxing endlessly subtle nuances from a set of finely crafted original songs … heavenly.” – The Guardian. “The Cuban maestro has hit top form.” – Q **** “A classic from top to tail.” – MOJO **** “An excellent bolero singer”  - The New York Times.

Marketing: Print and online PR campaign – reviews targeted in Songlines, MOJO, Uncut, The Line of Best Fit, The Quietus, The Guardian, The Independent, Sunday Times Radio campaign – plays/coverage targeted on BBC Radio 2, Radio 3, Radio 4, 6Music, BBC Regional stations Social marketing (organic posts and paid advertising) & e-newsletters via World Circuit/Ibrahim Ferrer/Buena Vista Social Club digital properties YouTube advertising using pre-roll ads + keyword targeting.

Long before poetry slams were thrust into the spotlight, Philadelphia's Ursula Rucker defined her own bitter-sweet lyrical style, which addressed topics such as slavery, love, sexism and politics, positioning itself somewhere between spoken verse and sung speech - Spoken Soul, JazzHop, Poetry.

Edmony Krater's work gets 3 remixes for this release! Also comes with the original version of  ''An Ba Jouk''... Check.

Love Ritual is is an Afro-Latin beat fusion with Yoruban vocals and chants. Dance Ritual Is a more disco inspired track. A perfect drop in your set

FORTHCOMING ...

Far Out Recordings proudly presents Cry Babies' self-titled debut album from 1969. An early formation of Brazilian funk greats Banda Black Rio, Cry Babies took inspiration from the iconic US soul records of James Brown, The Isley Brothers and Kool & The Gang, all of whom are covered on their first and only album. Pioneering Brazil's funk fascination, Cry Babies paved the way for the likes of Jorge Ben, Dom Salvador, Trio Mocotó and Azymuth: with fat funky drum breaks, big round bass, touches of psychedelic Brazilian surf, and the kind of hazy soulful arrangements that could only emerge from Rio de Janeiro.

Produced by one of Brazil's most prolific musical minds, Durval Ferreira - whose song writing and production credits also include Sergio Mendes, Deodato, Emilio Santiago, Ed Lincoln, Joao Bosco, Quarteto Em Cy and Dila - the Cry Babies sound, while distinctly North American in influence, carries all the sunshine warmth of the samba jazz and bossa nova records that were coming out of Brazil at the time.

With saxophonist Oberdan Magalhães responsible for the album's arrangements, it's no surprise that when Warner Music established themselves in Brazil in the mid-seventies, Magalhães was the man they asked to form a group (Banda Black Rio) to develop this new merging of stateside soul and Brazilian influences. Yet while Banda Black Rio's tight, groove-heavy sound has awarded them cult status amongst lovers of instrumental Brazilian music, their first formation as Cry Babies is a lesser-known story. Since its first and only release, the original record has remained impossibly expensive and hard to find.

Set for its first ever vinyl reissue, Cry Babies has been remastered and pressed to 180g vinyl, with a high-quality replica sleeve, and will be available via Far Out Recordings from 31st January 2020.

Credits: Producer - Durval Ferreira, Coordinator - Nelson Attílio, Saxophone, Arrangements - Oberdan, Bass - Oswaldo, Congas - Carioca, Drums - Luiź Carlos, Guitar - Ovid, Organ - Sérgio Carvalho, Piano - Moacir, Trombone - Serginho, Trumpet - Paulinho, Vocals - Aldo, Rosana, Artwork - Mibielli.

2nd double A sides paying tribute to Afro-Latin culture. Side A is a tribute to Miami Beach w/it's street percussion & sultry vibe bleeding into a slink house track.

These amazing Brazilian soul-funk nuggets from Renata
Lú, originally appeared on a 7” compacto and on her self-titled debut album for Copacabana Records in 1971.
The up tempo break-beat funk of 'Faz Tanto Tempo’ has a real dance-floor cross-over appeal and should please Brazilian, funk, hip-hop breaks heads and mod-soul DJ’s & collectors alike.
Renata Lú had a long career releasing records on labels such as Compacaban / CID & Continental through out the 70’s and 80’s and worked as backing vocalist on recordings by Tim Maia and Nonato Buzar.

Funky tropical party starting disco with African and Antillean influences featuring the amazing Nidia Gongora on vocals for the A-Side. The flip drops the bpm with a tastefully dubbed out percussion heavy reggae / cumbia / dancehall amalgamation featuring Camilo Tumbao on vocal duties. He lands somewhere between classic roots reggae vocal stylings and MC.

From Far Out Recordings’ in-house producer, Daniel Maunick’s debut solo album Macumba Quebrada conjures scenes of collective hedonism from start to finish. Spanning Afro-Brazilian spiritual dance ceremonies, late-eighties Detroit techno parties and jungle and broken beat raves in nineties London, Maunick celebrates our instinctive, age-old desire to come together and lose our sense of self.

Daniel Maunick practically grew up behind the mixing desk. As the son of Brit-funk legend Jean-Paul ‘Bluey’ Maunick (of Incognito fame), he found himself immersed in music from an early age, and quickly became involved in London’s drum n’ bass, acid-jazz, house, broken beat and soul scenes, releasing his first production at the age of sixteen on Gilles Peterson and Norman Jay’s Talkin’ Loud label. Since then, he has produced albums by the likes of Azymuth, Marcos Valle, Terry Callier, Incognito, Ivan ‘Mamao’ Conti and Sabrina Malheiros.

Reflecting his dual residence between Rio de Janeiro and East London, Macumba Quebrada features deep house stompers and broken bangers littered with Brazilian rhythms - in the form of both dusty percussion and Maunick’s intricate drum programming. But the album sees Daniel draw inspiration from across the black music continuum, and the rich histories of communal celebration in Detroit techno, Chicago house, London D’n’B and New York disco. Bringing all this together in explosive peak-time club tracks, moments of eerie ambience, South American swing and tribal earthiness, Macumba Quebrada expands on Maunick’s recent vinyl-only EPs ‘A Vicious Circle’ and ‘Sombra Do Dragao’, with a 13-track double LP and 14-track CD and digital release.

Taking its title from a syncretism of South American spiritual practices, the cover art is photograph taken by acclaimed French photographer and self-taught ethnographer Pierre Verger, who travelled the world documenting civilizations that would soon be effaced by progress. Settling for good in Salvador, Brazil, Verger became initiated into the Candomblé religion, eventually officiating rituals and ceremonies within the community. Without having become an ordained priest, Daniel Maunick shares both Verger and Far Out Recordings’ love for Brazil: its people, its culture and its music.


"He's been producing Azymuth and all kinds of great musicians in Brazil, and finally his debut album is about to be released." Gilles Peterson (BBC 6 Music)
"This one is a good one. Thanks!" Derrick Carter
"Wow couple of killers on there so it sounds!! Thanks a lot" ?? San Soda
"He is always brilliant!" Voclov (Neroli)
"Energetic, summery and full of groove. "It's like Theo Parrish went to Brazil and never decided to come back." Errol (Touching Bass)
"Super dope release from Daniel! proper Venom / Viper Squad vibes!!" Pablo Valentino (MCDE/Faces Records)
"Organic and bumpy...healthy dance music!" Mad Mats (Local Talk)
"really diverse, great sound" Chris Todd (Crazy P)
"super dope" Nick Tyson (XOA)
"Keep em coming man! ... Nice one" Earl Jeffers
"Feeling this! As always with Mr Maunick." Opolopo
"Dirty Trix is real nice!" Jkriv (Razor N' Tape)
"This is great!" Danny MoodyManc
"He's right on the money with this one, isn't he? Deep, profoundly funky stuff that Larry Heard would be proud of. You can feel it!!!!" Mark Webster (BBC 5 LIVE)
"this is so dope" Alex Attias (Visions Recordings)
"Love these tracks" Serkan Cetin (SunSplash)
"Great release, I love It! I-Robots approved!" I-Robots
"This is excellent. Dirty Trix and Somra Do Dragao are the ones!" Dane (The Love Below)

Dubbed out disco edits made with love, drenched in summer spice and slapped straight on the grill to waft out across the hazy breeze!

From the Latin infused sax power of ‘Doin’ It’, to the Italo tinged synth pop nugget, ‘Pop Lock’ and back round to the sensual boogie gem ‘Right Now’, it’s another must have set of edits from the Labor of Love crew.

Following On From Their Standout Debut Release, Viaggio Return With Another Collection Of Global Grooves, Formulated By Co-captain Of Viaggio Recordings, Musta. Nestled Alongside Musta's Productions, Disco Halal Affiliate And Man Of The Moment, Kincaid Takes To Remixing The Mind Bending 'cantana'.

The A Side Is An Invite Into The Inner Circle Of The Tribe, With Melodic Messenger Musta Leading The Dance. Rome Born, Sardinia Based, He Channels The Sounds, Sights And Feelings Of His Time Spent Living In South America Into The Tribalistic 'cantana'. Hypnotically Rhythmic, Drawing On Local Samples And Entrancing, Percussive Loops, Musta Weaves Organic, Analog Synths And Beating Kicks To Form Its Basis. The Energy Conjured Is Animalistic, Moving Bodies With A Purpose Drawn From Deep Within. Enter The Spiritual Vocal - As Infectious As They Get, It'll Have Dancers Imitating The Chants Without Them Even Knowing What They're Doing.

Who Better To Remix This Far-flung Treasure Than Rising Star, Kincaid. Taking 'cantana' And Twisting It Into A Tripped Out Roller, That Transplants Musta's Exotic Soundscapes Into A Distant Cosmos. Surging Synthesis, Tectonic Echoes And Wobbly, Otherworldly Tinges Pop And Crackle Throughout. It's A Grittier, Glitchier Affair With A More Electronic, Distorted Feel, Yet It's Roots Still Remain In That Warm, Earthy Aesthetic With Its Rich, Tactile Tones.

Between a secluded cabin sanctuary, tucked away in the vast the stillness of Topanga Canyon, California, and a remote 18th century finca on the Balearic island of Mallorca, Spain, BATO BATO's debut album was patiently guided into being.

Three years writing and recording between these two locations brought the group's collaborators - Julian Smith and Henrik Jakobsson, with Balearic legend Nestor Casas Oche on trumpet - to their most natural sound conclusion.
The music of Bato Bato does not just reflect its organic sound habitats; it absorbs them - the duo set up studio and outdoor field sessions capturing various local environments including percussive field recordings and ambient cave sounds.
The album is an exploration in sound somewhere between the influence of exotica, psych, and dub - metered with latin / afro rhythms merged with experimental studio process and mixing.