Pop & Rock News

With 'Weightless', their second LP, London-based soul/jazz ensemble Teotima are celebrating friendship, creativity, love, meditation, progress, and the work of being happy.

As musical director and guitarist, Greg Sanders, explains: "You create your own happiness. It's a discipline and a practice, learning what works and then remembering to do those things. So that's how I try to approach the music as well, bearing in mind moods and happiness. The work of being happy — like learning an instrument or a language — feels like something you need to maintain and do regularly.



In the music there's a lot of times where people are following the written music, but I also try and make sure that there's plenty of space for improvisation and solos and interaction. So you're creating the space and conditions for spontaneity and joy by using structure. It's how I write, but it's also how I try and live."


What exudes are 7 tracks that take full advantage of the remarkable breadth and depth of talent within the band's core members. "One of the most important things about Teotima is that the music is written with the specific players in mind - each player's voice on their instrument is an essential part of the group's sound".

This tradition of large-ensemble music written for the characters in the ensemble has a rich history stretching back to Ellington and Strayhorn. After the release of their debut LP 'Counting The Ways', First Word label boss Aly Gillani suggested that Greg should try writing for a smaller ensemble, to tour with.

Greg took up the challenge and focused on writing pieces which could work in differing arrangements/instrumentations, and workshopped ideas with other band members to develop the songs' sound and atmosphere.

Musically, the sounds span the Atlantic from the African continent to Brazil, the Caribbean, the USA and London, while sounding completely fresh and singularly captivating.

Album opener 'Suddenly' sees the Chakacha rhythm of coastal East Africa blended with the song-writing sensibilities of close friends and sometime collaborators Flying Ibex. 'If Every If' is the sound of Radiohead recording a samba with Bjork in Nashville, while 'From A Distance' sets Gil Evans style orchestration and a vocal performance reminiscent of Kadhja Bonet to a heavy Steppaz reggae riddim. Meanwhile, 'To Friends' is a joyful homage to South African township jazz legends Abdullah Ibrahim and Brotherhood of Breath, composed in the Ijexá rhythm of North-Eastern Brasil.

In the 6 years since 'Counting The Ways', the members of Teotima have been making waves with their own projects as leaders, as well as playing with contemporaries such as James Blake, Jordan Rakei, Waaju, Riot Jazz, and this wide-ranging experience in the band's joyful and sensitive performances.

Reaching out to the real roots of the Jamaican sixties musical explosion…

Some of the originators of the genre, including Ernest Ranglin, Lennie Hibbert & Cecil Lloyd, playing in their element and demonstrating just where they're coming from

On Otun, the breadth of Montoya’s influences and tastes is at its most striking; the dulcet techno hum of “La Pastora” is perforated by sprightly flutes and percussion, while lead single “Solo Quiero” deploys a languid reggaeton pattern beneath Bogota rising star Pedrina’s distorted, wilting croon anticipating a euphoric synthesiser-lead climax. The title track, featuring a sultry guest vocal from Nidia Gongora, is a fierce and vigorous club anthem, amplified by hissing synth pads and sordid breakbeats. Even a more straightforwardly techno track like “Tatacoa” is stylised with intoxicating Indian vocal samples, and more traditional folk selections like “Orun” still use an inobtrusive bassline drone. Montoya’s palette is simultaneously expansive and curious, yet coherent, with a steadily melodic electronic through-line running through Otun’s duration.
Montoya absolutely sustains ZZK’s pedigree of platforming the most exciting and inventive electronic artists from Latin America, joining the storied legacy already built by the likes of Nicola Cruz, Chancha Via Circuito, and King Coya. 

Peru's stalwart salseros Sabor y Control return to Names You Can Trust and the 45 format with a brand new pair of signature compositions from band leader and saxophonist Bruno Macher. Collaboratively recorded and produced with NYCT in Lima's Barranco district, these exclusive versions and custom mixes are a throwback to the beautifully raw recordings of 1970s salsa dura. The final result is a testament to the group's tremendous power as a live act and to the musicianship and synergy formed from nearly two decades of playing together, fittingly showcased on the preferred vinyl format.

Written by Chris Franck and Davide Giovaninni, Oba Lata draws on traditional Yoruban chant blending it with a live afro-beat groove. Edgy, rhythmical analogue synths, vocals, guitars and percussion tied together by the clave and driving afro bassline make this a credible dance floor contender. The vocals honour "Obatala", one of the main Orishas in Yoruban culture. He is seen as the creator of earth and a lover of peace and harmony.



NameBrandSound are IG Culture and Alex Phountzi. The duo were part of the original West London broken beat scene and are known for their involvement with New Sector Movements and Bugz in the Attic. This remix draws on some of the modern African rhythms like Gqom (Durban - South Africa) and Coupé-Décalé (Ivory Coast via Paris) and combines them with their own "bruk" sound. Stripped back vocals and instrumentation make this a remix focused heavily on groove.



This instrumental track 'Dakar' is the result of a recent trip to Senegal during the period of Ramadan. It features an 8 piece woodwind/horn section recorded in Belo Horizonte (Brazil) which has been beautifully arranged by Rafael Martini. A mid tempo groove leaning heavily towards North Africa combining acoustic and electronic elements to create a deep modal feel and mood.

From a fascinating yet relatively undiscovered era of experimental music in Peru's capital city Lima, this never before released split single features two of the foremost musical minds of modern day tropical, electronic and ambient roots music. One song each was plucked from the archives of mutual friends Los Palteados (Tomas Tello) & La Sonora Roza (Efraín Rozas / La Mecánica Popular), offering a rare glimpse into the musicians' respective productions and group projects at the onset of the 21st century. The pair of selected recordings each have their own hypnotic sensibility, yet both remain blissfully approachable experimentations in the beloved styles of cumbia & descarga.

Los Taxis is a new Names You Can Trust-produced project especially dedicated to the many neighborhoods and taxi operators linking the greater-NY area to the vast artists and culture of cumbia sonidera throughout Mexico. Featuring Sonidero Mixteco on vocals.

Four 1986 in demand dancefloor bangers from Trinidad & Tobago’s father of Rapso. Incl a unreleased dub version of ''Rapso Space'' and the BIG tune ''Crucial Descosion''..

Out of the social unrest and revolutionary times of the early 1970s a new musical art form emerged on the streets of Port of Spain,
Trinidad & Tobago. A group of young guys started to combine poetry with drumming and created the musical art form that is known
today as Rapso.

Poets known as much for their fiery verses as they were for leading protests were at the vanguard of the 1970s Black Power
revolution. There was a new consciousness building in the Trinidad and Tobago arts scene. The two most influential characters were
Cheryl Byron and Lancelot Layne.

Lutalo ‘Brother Resistance’ Masimba and others would play basketball during the day and come back out at night, ‘liming’ and playing
drums. Other people from the block would join with instruments and Brother Resistance would perform his poetry on the rhythms. The
prestigious boys school that Resistance attended refused to acknowledge his attempts at creating verses that reflected the rhythm of
the Trinidad and Tobago creole. ''They said it wasn't poetry. They didn't want to put it in the school magazine.''
Resistance and his friends toyed with other words to describe their style. They came up with 'rapsody' but one night during a show in
Santa Cruz somebody in the audience shouted out ''How you could rap so!'' And the rest is history.

They recorded their first album ‘Bustin Out’ in 1980. More albums followed and they started to work as producers. In 1986 the band
performed at ‘Caribbean Focus’ festival in London and toured the U.K. which helped to lift their reputation internationally. The same
year Brother Resistance decided to produce his first solo album and went to England to record ‘Rapso Take Over’. This album
contains the highly acclaimed tracks Ring De Bell, Dancing Shoes Rapso and Star Wars Rapso. An unreleased take of Wars In
Rapso is featured on this Cree Records 12''.

The band wasn’t too impressed with the ‘English’ production and they decided to record a new version of the song. Junior Wharwood
recorded the guitar tracks. Resistance came up with the idea of Tonight Is De Night. The more or less improvised song became a big
carnival hit in Trinidad and he went to perform it live with bands like Sound Revolution, Shandileer and Charlie’s Roots.

The new Analog Africa sheds light on the little known music from the Para region in the north east Brazil, and most notably, its main city Belem

Jambú is an exhilarating, cinematic ride into the beauty and heart of what makes Pará’s little corner of the Amazon tick. The hip swaying, frantic percussion and big band brass of the mixture of carimbó with siriá, the mystical melodies of Amazonian drums, the hypnotizing cadence of the choirs, and the deep, musical everence to Afro-Brazilian religions, provided the soundtrack for sweltering nights in the city’s club district.

The city of Belém, in the Northern state of Pará in Brazil, has long been a hotbed of culture and musical innovation. Enveloped by the mystical wonder of the Amazonian forest and overlooking the vastness of the Atlantic Ocean, Belém consists of a diverse culture as vibrant and broad as the Amazon itself. Amerindians, Europeans, Africans - and the myriad combinations between these people - would mingle, and ingeniously pioneer musical genres such as Carimbó, Samba-De-Cacete, Siriá, Bois-Bumbás and bambiá. Although left in the margins of history, these exotic and mysteriously different sounds would thrive in a parallel universe of their own.

I didn’t even know of the existence of that universe until an Australian DJ and producer by the name of Carlo Xavier dragged me deep into this whole new musical world. Ant it all began in Belém do Pará. Perched on a peninsula between the Bay of Guajará and the Guamá river, sculpted by water into ports, small deltas and peripheral areas, Belém had connected city dwellers with those deeper within the forest providing fertile ground for the development of a popular culture mirroring the mighty waters surrounding it. Through the continuous flow of culture, language and tradition, various rhythms were gathered here and transformed into new musical forms that were simultaneously traditional and modern.

Historically marginalized African religions like Umbanda, Candomblé and the Tambor de Mina, which had reached this side of the Atlantic through slaves from West Africa – especially from the Kingdom of Dahomey, currently the Republic of Benin – left an indelible stamp on the identity of Pará´s music. They would give birth to Lundun, Banguê and Carimbó, styles later modernised by Verequete, Orlando Pereira, Mestre Cupijó and Pinduca to great effect. The success of these pioneers would create a solid foundation for a myriad of modern bands in urban areas.

Known as the “Caribbean Port,” Belem had been receiving signal from radio stations from Colombia, Surinam, Guyana and the Caribbean islands - notably Cuba and the Dominican republic - since the 1940s. By the early 1960s, Disc jockeys breathlessly exchanged Caribbean records to add these frenetic, island sounds to liven up revelers. The competition was fierce as to who would be the first to bring unheard hits from these countries. The craze eventually reached local bands’ repertoires, and Belém’s suburbs got overtaken by merengue, leading to the creation of modern sounds such as Lambada and Guitarrada.

To reach a larger audience, the music needed to be broadcast. Radios began targeting the taste of mainstream audiences and played music known as “music for masses.” As the demand for this music grew, it led to the establishment of recording companies. Belém’s infant recording industry began when Rauland Belém Som Ltd was founded in the 1970s. It boosted a radio station, a recording studio, a music label and had a deep roster of popular artists across the carimbó, siriá, bolero and Brega genres.

Another important aspect in understanding how the musical tradition spread in Belém, are the aparelhagem sonora: the sound system culture of Pará. Beginning as simple gramophones connected to loudspeakers tied to light posts or trees, these sound systems livened up neighbourhood parties and family gatherings. The equipment evolved from amateur models into sophisticated versions, perfected over time through the wisdom of handymen. Today’s aparelhagens draw immense crowds, packing clubs with thousands of revelers in Belém’s peripheral neighbourhoods or inland towns in Pará.

The history of "Jambú e Os Míticos Sons Da Amazônia" is the history of an entire city in its full glory. With bustling night clubs providing the best sound systems and erotic live shows, gossip about the whereabouts of legendary bands, singers turned into movie stars, supreme craftiness, and the creativity of a class of musicians that didn’t hesitate to take a gamble, Jambú is an exhilarating, cinematic ride into the beauty and heart of what makes Pará’s little corner of the Amazon tick. The hip swaying, frantic percussion and big band brass of the mixture of carimbó with siriá, the mystical melodies of Amazonian drums, the hypnotizing cadence of the choirs, and the deep, musical reverence to Afro-Brazilian religions, provided the soundtrack for sweltering nights in the city’s club district.

The music and tales found in Jambú are stories of resilience, triumph against all odds, and, most importantly, of a city in the borders of the Amazon who has always known how to throw a damn good party.

“Jambú is a plant widely used in Amazonian and Paraense cuisine. Known for having an appetitestimulating effect, it is added to various dishes and salads but is most famously one of the main ingredients in Tucupi and Tacacá, two delicacies that have been immortalized in countless Carimbó songs. Chewing the leaves of the Jambú plant will leave a strong sensation of tingling on the tongue and lips. Indigenous communities have relied upon its anaesthetic qualities for centuries as an effective remedy against toothaches and as a cure for mouth and throat infections. A decade ago, a distillery from Belém discovered the euphoric effects of the Jambú plant when combined with distilled sugarcane based spirit - known as cachaça - and created the now legendary “Cachaça de Jambú“.

Born in the 1940s in Istanbul, Italian painter and percussionist Wilfred Copello had, from the onset, a predisposition for exotic sounds.Indeed, his interest for latin music was manifest early on in his career. In 1970 he was an uncredited member of the Italian band Latins 80 who released the same year the LP Foglie Gialle All’Imbrunire which has now gained cult status.From that period onwards, Wilfred settled in Rome where he gained an excellent reputation as a studio player; he participated in a large number of projects and albums, especially on the jazz scene with his friend Romano Mussolini (The Latin Taste, Jam Session , Soft & Swing, etc.). But it is the music from Brazil that had the greatest impact on Wilfred. In 1974 he recorded ‘Viva Brasil’ with the group Expo 80, an album which was an ode to Brazilian music. A few years later, at the turn of the 80s, he formed the band Wilfred Percussion. He brought with him an all-star cast of the jazz and Latin scene in Rome which included Argentinean drummer Osvaldo Mazzei and respected trumpet player Cicci Santucci.It was actually in Cicci Santucci’s Audio Sound Studio that was recorded Wilfred Percussion’s only album.Recorded in 1983, the album is a musical gem. Self-produced, Wilfred Percussion is composed of covers and original compositions. Covers include original titles by the unclassifiable Hermeto Pascoal as well as Milton Nascimento, and are reinterpreted here in a totally unique fashion with that distinctive Italian groove. Wilfred Percussion is an album which allies funk to MPB with jazz undertones, introducing the listener to a singularly fresh and evocative opus.

The “Elder Statesmen of Neo-Krautrock”: Electro-duo Klangwart was thought-provokingly labelled as such by an inventive music journalist when presenting their previous album “Transit” (named, among others, Record of the Year in the “Avant-Rock” section of The Wire’s 2016 Critics Poll). The tag responds to an understandable attempt at finding a category for one of the most singular phenomena of the electronic music scene.

It might be more passing to call tahem the “Under-Statesmen”, as minimalism and understatement are key elements of the Klangwart project, founded more than 20 years ago by musician and author Timo Reuber and DJ and Staubgold label manager Markus Detmer.

Every few years, seemingly coming out of nowhere, the duo release a consistently critically acclaimed Klangwart album, give a couple of concerts, and disappear once again. This might sound of harakiri, as it contradicts all common rules of the music market. But behind it lies a profound longing for veracious expression on the border between avant-garde and entertainment. In 2014, Klangwart travelled to the Colombian capital in order to record the material for “Bogotá” with protagonists of the local music scene: Damián Ponce (drums), César Quevedo (bass) and Eblis Álvarez (violoncello), members of The Meridian Brothers, and singers Juanita and Valentina Áñez Rothmann a.k.a. Las Áñez. The result is Klangwart’s trademark sound permeated by a Latin American pulse and pitch.

Collectively improvised and recorded in a matter of days, the raw material was later edited and mixed by Reuber at the Inkiek-Studio in Cologne. Joseph Suchy added guitar overdubs and mastered the album.

At all times unpredictable, exciting and surprising, “Bogotá” is the latest milestone in Klangwart’s ongoing musical journey. Recorded in Bogotá featuring members of the Meridian Brothers and Las Áñez.

The Prescription Pricing Authority duo hails outta London town and delivers the second 7" inch release ever on GAMM !.

With a slab of funk infected disco on the A (1-2-1) and a jazz-funk-fusion jam (Lucky Duck) on the flip we hope this lil' 7" will own a permanent space in your 7" inch box.
It's a pretty bad ass release that comes with a classic vintage 'dinked' (big hole) label design.

Esencia is proud to present Forgotten Ones, the new album from London based quintet Culross Close. The album opens with 'Fractured', a cosmic musing carried delicately by electric piano and decorated with a synthesized dalliance. The album then cruises into 'Forgotten Ones', a spiritual made potent by their choral-esque vocals by far their most accomplished piece to date.

'Acceptance' finds the quintet in familiar hip-hop territory, carving out a top tier groove with a recurring piano motif of the highest order. Their vocals, this time more chant than choral makes for a brilliant 5-minute mantra.

'Mood' is a stark contrast to anything else on the album, an acidic and rugged illustration of the group's present state. 'The Tiniest Lights Still Shine' is a syncopated excursion in 5/4 time. With an electrifying percussion solo, this will be the song that finds its way onto the dance-floor. 'Healing' is a percussion heavy journey, draped in synthesizers and style, embodying elements of 70's fusion and bossa-nova, a perfect closer to the album.

1 x LP Full Colour Sleeve, shrinkwrapped

Caravela are an Afro-Brazilian quintet with members from Portugal, South America, Australia and the UK. Their music is an exploration of the communal traditional and spiritual music of Lusophone countries like Brazil and Cape Verde, approached with a contemporary groove and feel.

Caravela shine a light on traditional rhythms and styles and reimagine them with a jazz attitude of improvisation. Blending influences like Baden Powell, Mayra Andrade and Lionel Loueke, Caravela's exploration of Afro-Brazilian music on their debut EP is not to be missed.

Originally released in 1972, Vento Sul (translation 'South Wind') was a rewarding collaboration with Brazilian progressive rockers O Terço.

Classic Brazilian album from master drummer, Ronald Mesquita, originally released in 1972. Featuring songs by Jorge Ben, Antonio Carlos-Jobim, Gilberto Gil, Edu Lobo and others.
Mesquita is probably most well-known for playing with Luis Carlos Vinhas and his 'Bossa Tres' outfit, along with his own group, 'Ronie E A Central Do Brasil', that he formed after his return from the US in the early 1970s. He also played on several songs on Tenorio Jr.'s 'Embalo' album that Mr Bongo recently reissued.
The killer track 'Balanca Pema' was very big in the Jazz Dance scene in the 90s and also featured on the Mojo compilation 'Dancefloor Jazz Volume Four'.
Madlib sampled 'Balanca Pema' on his Medicine Show Number 2 'Flight to Brazil'.

Official Mr Bongo reissue. Licensed courtesy of Universal Music Group Limited.

Galvanised by a passion for soul, jazz, funk, folk, and Brazilian samba, Judith Ravitz's Bolerio (in Hebrew, Yehudit Ravitz - ) brilliantly reimagines the music of the Brazilian legend Jorge Ben. Increasingly sought-after, housing as it does her seminal take on 'Dia De Indio' - often re-edited and sampled, bootlegged but never bettered - it's a uniquely thrilling LP in its own right. The year is 1983, and Ravitz discovered that Jorge Ben was touring Israel with his crack backing band A Banda Do Zé Pretinho. After joining her in the studio, the ensemble reinvented a selection of Ben's killer tracks that the band regularly performed. On Bolerio - 'come to Rio' - Ravitz handed them equal billing as they aided a recontextualization of Ben's music for an audience that was barely aware of him. These versions are by no means straight re-treads. Far from it. The highlights are many and memorable. The aforementioned 'Dia De Indio', a strutting, electronic samba-funk with stabbing bass and fluid arrangements, sounds so current and fresh that it's hard to believe it's now 35 years old. Its vibrant ambience has been likened to the wiry dubbiness of King Sunny Ade's Synchro System and it's easy to see why. Indeed, the electro elements add a futuristic feel that the original could never comfortably possess. Undeniably rocking more furiously than Ben's versions, the album begins with a throbbing take on 'Boiadeiro', the opener from Ben's Salve Simpatia.

For their first Afro-Brazilian compilation the German Jazz & Milk label teamed up with Tahira, one of São Paulo's most active DJs andmusiccollectors. Levanta Poeira (Afro-Brazilian music & rhythms from 1976 - 2016) highlights a few of his favourite DJ pearls and encompasses Brazil's various regional musical styles influenced by African and Amerindian forms. While most foreign music lovers tend to approach Brazilian music by having American music genres such as Jazz, Soul, Funk, Disco as a reference, Tahira's personal wish was to showcase the rich musical roots and facets of his country by featuring carefully selected artists and bands from the past 4 decades. Most of these tracks will be made available on vinyl for the very first time with a highlight certainly being Tahira's "A Toda Menina Baiana" remix (vinyl-only) of one of Brazil's absolute musical heroes, Gilberto Gil.

Tahira is a well known character and good soul of São Paulo's music and digging community, regularly searching through record shops, private collections or dusty attics around the country. The passionate DJ dedicated the past four years extensively researching Brazil's broader spectrum of musical styles and slowly started to introduce more and more African and indigenous elements in his DJ sets. Encouraged by the great acceptance and success during his shows he decided to curate his first compilation project to share his discoveries with the world. "Levanta Poeira" is a popular Brazilian expression meaning "kick up dust." This is a phenomenon that can be found throughout the country, a cultural manifestation that exists where people gather to play, dance and party. Earth is hit by the foot of the dancers raising a cloud of dust. It is a sign that the heat of the Brazilian spirit is present!

The compilation starts of with a key figure of Brazil's music scene. Since the 1950s, the Genius Gilberto Gil has been gifting us with countless musical blessings. Very few artists were able to not only explore but embody the diversity of Brazilian music as well as he did. Gil's endless row of classics include the wonderful track "Toda Menina Baiana" which has been revisited by Tahira himself. Adding Ijexá beats, as well as Afrobeat stlye guitars and a horn section on top of the original, Tahira managed to make this legendary song attractive to a young and modern audience. The remix starts of with a long percussion intro, builds up very slowly before finally introducing the first vocal verse - an arrangement especially designed for DJs who love to mix and blend brazilian rhythms in their sets. This remix will be available on vinyl only!

Established in 1995, Barbatuques from São Paulo developed different techniques of body percussion, vocal percussion, tap dance and musical improvisation in their collective experiences. "Baiao Destemperado" is a Forró (a genre of Brazilian music that originated in Northeast) with the famous Barbatuques body percussion trademark. A truly unique and outstanding piece of music!

Back in 1976 Georgette or Georgete da Mocidade recorded "Kiriê" -a track produced by the genius Ed Lincoln, a pioneer of sambalanço, a very groovy music style which mingles samba rhythms and American jazz. The Afro influences on this track are unmistakable. The simple foundation of guitars and percussion create a very warm and electrifying sound layered by Georgette's beautiful vocals. The rhythmic pattern of the percussion intro is called"Congo de Outro", an Afro Brazilian rhythm with Bantu origins that heavily inspired modern producers and laid the foundation for Baile Funk.

Renata Rosa is a contemporany artist that blends sounds of the northeast area of Brazil in a very unique way. On "Brilhantina" her indigenous influenced voice fits wisely to the Samba de Coco rhythms. Its´s an outstanding track from the beginning to the end and a good example of how powerful and bass-heavy percussion-driven music from Brazil can sound these days. Renata Rosa manages to present Brazil's musical roots in a modern guise, celebrating widely unkown facets of Brazilian music culture.

Global bass producer Maga Bo continuously explores the contours of Afro-Brazilian culture including many collaborations with some of the biggest talents in Brazil's vast musical landscape. His track "No Balanço da Canoa" was remixed by another production pioneer Chico Correa who was one of the first to blend Brazilian sounds of the norheast with electronic beats back in 2003. On his remix he modernized the traditional style of the original version by adding flutes, synth basslines and strong electronic Coco stlye beats.

Coco Raízes de Arcoverde are influenced by elements of indigenous and Afro culture. The band was formed in 1992 by Lula Calixto and the Irmãs Lopes. After a while the Irmãs Lopes split up to form their own band but Lula Calixto kept playing with Coco Raízes and made his whole family become part of the group too. They play a kind of Coco style ryhthm called Trupé, in which they use wooden sandals as a percussion instrument, strongly reminding one of clap sounds, which can also be heard in the intro of "Gode Pavão" - a very powerful song impossible not to dance along to!

Around for more than 90 years, Banda de Pífanos de Caruaru are one of the oldest bands in South America. They started in 1924 with Manoel Clarindo Biano and Benedito Clarindo Biano in Alagoas, but recorded their first album not until 1972 after Gilberto Gil recorded Banda de Pifanos' track "Pipoca Moderna" as part of his album "Expresso 2222". Unfortunately the originators Manoel and Benedito Biano have passed away but the band continues the tradition with their sons and nephews. The musicians play several self made instruments like drums and "pífanos" (fife flutes). "Balao Azul" is a very happy song for the dancefloor!

Stamp welcomes edit maestro Aroop Roy to the fold for its 10th label release!

The A-side extends and tweaks a legendary flautist's catchiest hit while the flip tips one of America's most prolific musician's late 70's hits on its head.

Long requested, now finally on wax!

This compilation originally appeared in 1982 under the title of 'Éxitos, éxitos, éxitos'. It gathered some of the first recordings by Chacalón y La Nueva Crema that were released on 7-inch records between 1977 and 1981.
These twelve themes were written during the years of the de facto government of Francisco Morales Bermúdez. This dictatorship led Peru to an institutional and economic crisis that also affected major record labels, which opted to publish foreign musicians to insure sales.

Although Chacalon's career experienced highs and lows after the release of this album, his intimate relationship with his audience remained, carried to levels as extreme as the ones he told Caretas magazine in July 1983:

"Once we were playing at a venue on Mexico Avenue, I was singing a song called 'Llanto de un niño', about a boy who was born in poverty, he has to leave his small town with his family. On the coast his father becomes a fisherman and dies, the son wants to send a letter to heaven. While I was singing, a guy who was there, at the front, pulled a switchblade and cut open his veins. He saved himself and then told me later that he had suffered a lot like the child in the song. Yes, the man had been drinking.'

This compilation originally appeared in 1982 under the title of 'Éxitos, éxitos, éxitos'. It gathered some of the first recordings by Chacalón y La Nueva Crema that were released on 7-inch records between 1977 and 1981.
These twelve themes were written during the years of the de facto government of Francisco Morales Bermúdez. This dictatorship led Peru to an institutional and economic crisis that also affected major record labels, which opted to publish foreign musicians to insure sales.

Although Chacalon's career experienced highs and lows after the release of this album, his intimate relationship with his audience remained, carried to levels as extreme as the ones he told Caretas magazine in July 1983:

"Once we were playing at a venue on Mexico Avenue, I was singing a song called 'Llanto de un niño', about a boy who was born in poverty, he has to leave his small town with his family. On the coast his father becomes a fisherman and dies, the son wants to send a letter to heaven. While I was singing, a guy who was there, at the front, pulled a switchblade and cut open his veins. He saved himself and then told me later that he had suffered a lot like the child in the song. Yes, the man had been drinking.'

Minyo Crusaders rework historic Japanese folk songs (min'yo) with Latin, African, Caribbean and Asian rhythms for their debut album 'Echoes of Japan'.

Releases from Ryuichi Sakamoto, Haruomi Hosono and Midori Takada have re-ignited global interest in Japanese music and 'Echoes of Japan' marks the arrival of a big band like no other.

'For Japanese people, min'yo is both the closest, and most distant, folk music' explains band-leader Katsumi Tanaka: 'We may not feel it in our daily, urban lives, yet the melodies, the style of singing and the rhythm of the taiko drums are engrained in our DNA'. Initially indifferent to min'yo, a tragic event in recent Japanese history set Tanaka on his current path: 'Following the Tohoku earthquake of 2011, I reflected on my life, work and identity. A fan of world music, I began searching for Japanese roots music I could identify
with. Discovering mid-late 20th century acts Hibari Misora, Chiemi Eri and the Tokyo Cuban Boys, I was
captivated by their eccentric arrangements and how they mixed min'yo with Latin and jazz.'

Originally sung by fishermen (Kushimoto Bushi; Mamurogawa Ondo), coal miners (Tanko Bushi) and sumo wrestlers (Sumo Jinku), these songs deal with topics such as the returning spirits of ancestors (Hohai Bushi), Japan's smallest bird (Toichin Bushi) and a bride's love for her husband's pockmarked face (Otemoyan).

Minyo Crusaders are one of the most hyped acts on the Tokyo music scene that went national in 2018 through festivals such as Fuji Rock. The band features veterans of the Tokyo roots music scene such as bassist DADDY U (Ska Flames), keyboardist Moe (Kidlat), sax player Koichiro Osawa (Matt Sounds/ J.J. Session), Yamauchi Stephan (J.J. Session), percussionist Mutsumi Kobayashi (Banda de la Mumbia), conga player Irochi (Cubatumb) and vocalist Meg (DJ collective Tokyo Sabroso).

- Wild blend of Japanese folk music with cumbia, boogaloo, Ethio jazz, Afro funk + more
- Ry Cooder, Mario Galeano (Ondatropica/Frente Cumbiero), Clap! Clap! are all fans
- European touring plans for autumn/fall 2019
- Includes Japanese lyrics + English translations

- Lacquers cut @ The Carvery

The nickname is superb, as unappealable: The University of Chicha. It is not an exaggeration that, 32 years after the release of Pinceladas Musicales, their second LP, the cumbia band Pintura Roja continues to be recognized as a monumental institution in the history of Peruvian music. Since its foundation in 1984, Pintura Roja has served as the quarry of the greatest exponents of "chicha" music, cultivating in the classrooms of its academy artists like Princesita Mily, considered one of the first women to integrate a chicha band, and Muñequita Sally, the disappeared queen of Andean folk, in addition to the legendary vocalist Toño Centella and the remembered Jhonny Orosco, founder of Grupo Néctar.

Pintura Roja is revolution, innovation, success. It is a commitment to originality, as well as a history of defections and tragedies. But above all, Pintura Roja is Alejandro Zárate Espinoza, its founder, director, composer and lead guitarist. He's "The Gentleman of Cumbia".

In 1984, Pintura Roja is called by Discos Horóscopo to record an LP before the end of the year. The group begins to capture the attention of the public, otherwise, curious about the voice of a woman that they initially confuse with the voice of a child, or perhaps attracted to their lyrics that reflected the dramas and common situations experienced daily by migrants and their first generations in Perú's capital: the abandonment of parents and sentimental counterparts, the incipient poverty and the uncertain present in which they lived. The woman as a fighter, capable of facing alone adversity and triumphant over sexism, appears in some songs, giving it greater relevance the fact that a woman with the power that her voice gave her, sang to them from the top of the stage.

In 1985, Pintura Roja gained popularity on the radio and acquired a one-hour program on Radio Inca called "Pinceladas Musicales". That year, readers of the newspaper El Popular choose it as the favorite band of the year.

It is for the second production that Zárate decided to seek support for Mily, who at that time danced and sang for up to six hours in each presentation. Zárate signs Sara Barreto, a 14-year-old huayno singer known as "Natachita", and gives her a new artistic name: La Muñequita Sally.

The nickname is superb, as unappealable: The University of Chicha. It is not an exaggeration that, 32 years after the release of Pinceladas Musicales, their second LP, the cumbia band Pintura Roja continues to be recognized as a monumental institution in the history of Peruvian music. Since its foundation in 1984, Pintura Roja has served as the quarry of the greatest exponents of "chicha" music, cultivating in the classrooms of its academy artists like Princesita Mily, considered one of the first women to integrate a chicha band, and Muñequita Sally, the disappeared queen of Andean folk, in addition to the legendary vocalist Toño Centella and the remembered Jhonny Orosco, founder of Grupo Néctar.

Pintura Roja is revolution, innovation, success. It is a commitment to originality, as well as a history of defections and tragedies. But above all, Pintura Roja is Alejandro Zárate Espinoza, its founder, director, composer and lead guitarist. He's "The Gentleman of Cumbia".

In 1984, Pintura Roja is called by Discos Horóscopo to record an LP before the end of the year. The group begins to capture the attention of the public, otherwise, curious about the voice of a woman that they initially confuse with the voice of a child, or perhaps attracted to their lyrics that reflected the dramas and common situations experienced daily by migrants and their first generations in Perú's capital: the abandonment of parents and sentimental counterparts, the incipient poverty and the uncertain present in which they lived. The woman as a fighter, capable of facing alone adversity and triumphant over sexism, appears in some songs, giving it greater relevance the fact that a woman with the power that her voice gave her, sang to them from the top of the stage.

In 1985, Pintura Roja gained popularity on the radio and acquired a one-hour program on Radio Inca called "Pinceladas Musicales". That year, readers of the newspaper El Popular choose it as the favorite band of the year.

It is for the second production that Zárate decided to seek support for Mily, who at that time danced and sang for up to six hours in each presentation. Zárate signs Sara Barreto, a 14-year-old huayno singer known as "Natachita", and gives her a new artistic name: La Muñequita Sally.

The Italian disco masters are back with four heavy funk-fuelled vinyl cuts.

Cabasa has off-kilter bass, Rhodes, dirty drums and grainy samples knitted together in to a groove heavy enough to get your Gran going. Hypnotic, trippy and disco at its finest.
Congo Club goes full cowbell and 80's drums. A chanted vocal wonks out over a Rhodes that weaves all kind of magic, then the lead drops and critical mass is reached.
The title track cracks on at a pace with synth strings, flanging bass, distorted drums and keys tying it all together. Latin percussion is dropped over a a sung sample and the swing is on.
Summer of Sam takes a more soulful diversion but keeps a foot firmly in the disco camp. The track builds with spacey atmospherics in to a track that will work in any situation.

- 180 GRAM AUDIOPHILE VINYL
- CLASSIC AND HARD TO FIND BRAZILIAN RARE GROOVE ALBUM
- FEATURING THE BREAKBEAT/SAMBA CLASSIC 'BOBEIRA'
- LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT RED VINYL

Sweet and breezy, light and jazzy, with plenty of warm touches - and one of the only albums ever releases by Edson Fredrico. Edson Frederico E A Transa features Frederico working with arrangements by Luiz Eca and Durval Ferreira, done with light percussion touches, plenty of keyboards, and some of the warm fusion phrasing of the mid 70s Brazilian scene. Vocals on most tracks are done in an ensemble chorus style, which makes for a nice finish to go with the warm feel of the cuts - and tracks include 'Ginga Gire Gire', 'Sacode Carola', 'Tema De Heloisa', 'Sambane', 'Garota De Copacabana and the breakbeat classic 'Bobeira'.

Edson Frederico E A Transa is available as a limited edition of 1000 individually numbered copies on transparent red vinyl.

- 180 GRAM AUDIOPHILE VINYL
- CLASSIC AND HARD TO FIND BRAZILIAN RARE GROOVE ALBUM
- FEATURING THE BREAKBEAT/SAMBA CLASSIC 'BOBEIRA'
- LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT RED VINYL

Sweet and breezy, light and jazzy, with plenty of warm touches - and one of the only albums ever releases by Edson Fredrico. Edson Frederico E A Transa features Frederico working with arrangements by Luiz Eca and Durval Ferreira, done with light percussion touches, plenty of keyboards, and some of the warm fusion phrasing of the mid 70s Brazilian scene. Vocals on most tracks are done in an ensemble chorus style, which makes for a nice finish to go with the warm feel of the cuts - and tracks include 'Ginga Gire Gire', 'Sacode Carola', 'Tema De Heloisa', 'Sambane', 'Garota De Copacabana and the breakbeat classic 'Bobeira'.

Edson Frederico E A Transa is available as a limited edition of 1000 individually numbered copies on transparent red vinyl.

Digitaldubs present a reworked version of the classic Gilberto Gil tune form his 1977 LP of the same name. With Gil's original vocal, coupled with Jeru Banto on the mic.

Established in 2001, Digitaldubs was the first reggae sound system in Rio de Janeiro, creating a new chapter in Brazilian reggae culture. Their productions fuse the mood of UK dub, Jamaican dancehall, all with a Brazilian accent.

Incredibly unique concept album from the one and only, Tom Ze´. As featured in
Rolling Stone magazine's 100 Greatest Brazilian Albums of all-time list (2007).

One of Ze's finest albums in our opinion, originally released by Continental
Brazil in 1976 - a tough one to find at a good price in its original form now.

'Estudando do Samba' (or 'Studying The Samba') is a post-Tropicalia studio
experimentation laiden with layers of hypnotic percussion, effects & samples
that deconstructs the 'samba' form. Recorded during what was arguably his most
creative period.

David Byrne found the record in Rio in the late 90's and included several songs
on his Tom Ze collection for Luaka Bop a few years later. At that time Tom was
not recording or touring much; playing low-key shows in Sao Paulo and
contemplating a move back to Irara´ to work at a service station owned by one of
his cousins. Byrne's project helped to reignite his career and he hasn't looked
back since.

Official Mr Bongo reissue. Licensed courtesy of Warner Music UK Ltd.

Helado Negro returns with This Is How You Smile, an album that freely flickers between clarity and obscurity, past and present geographies, bright and unhurried seasons. Miami-born, New York-based artist Roberto Carlos Lange embraces a personal and universal exploration of aura - seen, felt, emitted - on his sixth album and second for RVNG Intl. Helado

Negro's 2016 album Private Energy, re-released as Private Energy (Expanded) in 2017, is an urgent affirmation of self-love and solidarity driven by Lange's personal response to sanctioned violence towards people of color. The widely embraced album furthered the artist's visibility beyond a community of fans long established through a rigorous recording and touring career, with moments like 'Young, Latin and Proud' and 'It's My Brown Skin' aligning with a larger social demand for basic rights amongst marginalized people and the universal imperative to love, be loved, and thrive.

This Is How You Smile's opener 'Please Won't Please,' a call back to Private Energy, finds vitality in turning the privacy dial further inward. Setting the scene with a spare drumbeat that moves the music forward in a more maligned than militant march, Lange's voice tenderly permits himself weariness: 'We light ourselves on fire, just to see if anyone believes.' Something must be reserved, 'will anyone rescue what's left of me.' Diving into glimmering spirals, the remainder of the album takes leave of the broader 'we' and mines intimate pairings - siblings, parent / child relationships, partnership, and old friends. The story of This Is How You Smile includes a jaunty, head-nodding walk with his brother on hot pavement to the community pool of his childhood neighborhood in Florida. Such days end with a welcome fatigue and chlorine blurred reveries in 'Seen My Aura.' The confidence and security of youth, moves away from family, across years and regions, to a bleak winter of 'Imagining What to Do,' and loving partners deciding to make each other smile, while waiting for the sun to return.

This Is How You Smile derives from Jamaica Kincaid's 'Girl,' a story she wrote in the form of a mother's sole, complicated, but loving voice, speaking a 'How to' litany of advice ranging from domestic chores to what a daughter, an immigrant and young woman of color, must do to protect herself in a world that was not designed by or for her. This is how joy, or its visage, at turns comforts, constricts, or becomes armor.

Contemplating a parental voice, or its absence, becomes a question of where one may choose to return or depart. The lyrics of 'Running,' seem to retrace the cyclical path of pop's familiar obsessions, addressing the unrequited, fickle, or feared lover, 'I feel you in my mind, all the time... you got me running, running...' Instead, the repetition of fleeing breaks with a languid laugh of recognition, that the lives of those who came before are within one's own, even when we diverge, 'I see you in my hands... just like you.' The song may also be read beyond seeing the humanity of self and parent, to the ever more visible global failures of patriarchal structures, and those moments when one sees their traces in self and those dear. Lange describes the album as the soundtrack of a person approaching you, slowly, for 40 minutes. In 'Fantasma Vaga,' one of the first songs he wrote that set his approach for the album, a ghost wanders in from the low end, building a fuller form with each shaking step. Whirring, stops and starts of an eco espectral, may be musician trying to imitate, synthesize, the sound of a haunting, or a ghost itself trying to render the human voice. Lange often visualizes meeting strange beings, the odd encounters that occur in the creative process, a sound form of manipulation, in which who, or what is changing whom, becomes unclear. This Is How You Smile invites listeners on a walk through the changing colors of early mornings and evenings, writing, recording, or hearing a friend, a figure emerges, and there you are. The album will be released across various formats on March 9, 2019, with Helado Negro ever present on stages around the world in support.

1982, Brussels: Living on busking wages and next door to Tuxedo Moon, Antena manage to make a contemporary bossa nova record that provides the missing link between Antonio Carlos Jobim and Kraftwerk. The original Camino Del Sol has been given back its spacious mini-LP quarters, recasting this short-lived combo's forwardthinking mile marker as a modern-day masterstroke

Stateside celebrates the music of Brazil, just in time for the games, with this double A-sider 7' single.

One of Brazil's most prolific artists, Eumir Deodato has participated in the creation of over 450 albums, racked up 16 platinum records, won a Grammy (and received two more nominations), and sold over 250 million records in the USA alone. Over the course of his career, he has written for, arranged music by and played with artists including Frank Sinatra, Tom Jobim, Kool & The Gang, Earth, Wind & Fire, Marcos Valle, Aretha Franklin and Bjork, among others.

At the height of Deodato's productivity in the early 70s, Os Catedraticos 73 was recorded between Rio de Janeiro and New York, featuring a Brazilian rhythm section comprising Azymuth drummer Ivan 'Mamão' Conti, percussion master Orlandivo, and Sergio Barroso on bass, while the horn section features some of the big apple's top players from the CTI in-house brass.

A firm favourite with rare-groove enthusiasts and fans of Latin jazz alike, Deodato melds the musical sensibility of post-bossa nova Brazilian jazz with North American soul & funk, and the explosive Latin influences of '70s New York. Os Catedraticos 73 certainly swings harder than some of Deodato's earlier releases and opening track 'Arranha Ceu' (Skyscrapers) is a euphoric dance floor classic, which has been lighting up clubs for years.

With the blessing of Deodato himself, this official Far Out reissue has been remastered and pressed to 180g vinyl, with replica original artwork from the OG Equipe release.

Jazz isn't dead. Well, actually, in this case, it is... but in the most thematically appropriate way for the 20th Anniversary edition of the Grim Fandango soundtrack. Composer Peter McConnell's trumpet-y and rambunctious big band lounge act can finally be listened to the way it was always intended - on vintage black vinyl. Real human orchestras were rarely used for videogame music back in the 90s, but in this Remastered Director's Cut, every note was re-recorded and performed by actual fleshy people. The results are foot-tapping and chill, turning your living room into a veritable smokey club (smoke not included).

**UNRELEASED AFRO-CUBAN JAZZ**

Afro-Cuban Jazz of the highest orderl! And even better, these two songs have remained UNRELEASED for the past 52 years! Vibraphonist, flutist, and band leader Ulysses Crockett was a big name on the Bay Area latin-jazz scene of the 1960s. He started out with his own group Afro Blue Persuasion which included a very young Paul Jackson on bass who later became famous as a member of Herbie Hankock's fusion-jazz masters The Headhunters.

"Cuban Fantasy" and "Poinciana" were both recorded live in 1967 but remained unreleased until now. Both songs are taken from the soon to be released 33rpm record titled "Live at Haight Levels" which includes more unreleased material as well as the full length version of both of these two edited tunes.

This 7" runs at 33rpm to provide the best sound quality possible.

Dubben is back! The highly esteemed producer duo make their debut on Matasuna Records with this superb 7inch. The two have been active since 2007 and released great music with their unmistakable style on labels like GAMM, Resense or Dejavue. Their reworks are not only appreciated by brasileiros, but are also popular all over the world.

With "Jesus Boogie" on the A-side, Dubben turns in a new direction and give this Brazilian gem from the 70s a nice boogie touch. The focus of their treatment is the dance floor, so that the usual dub effects are not used here. The result is an extremely danceable number that makes you scream for more!

On the B-side you'll get "Cachaça" - a rework of an obscure 60s bossa number from Poland. The song was re-arranged and got new rhythm parts, which were flavoured with additional sounds and various effects. The extended dub part with psychedelic harmonica and delays blends seamlessly into the track. A great tune in beloved Dubben style!

'This collection of performances, previously unissued in their entirety, drawn from five recording sessions from 24 June 1968 to Duke's second-to-last Blue Note session on February 13 1970, shows both sides of his musical nature. On one hand, Andy Bey is belting out a backbeat-driven Buddy Johnson tune. On the other, Duke is scoring Brazilian guitarist Baden Powell's haunting Canto Ossanha for alto flute and alto clarinet. From October 1969, on his own Xibaba (Brazilian slang for marijuana), Airto Moreira is wailing with both his voice and hands. Soul music from another part of the world.'

-The first ever complete release of the 1968, '69 and '70 sessions on a limited edition double vinyl LP

- All Analogue mastering: taken from Rudy Van Gelder tapes; transferred by Grammy-Award winning mastering engineer Sean Magee at Abbey Road Studios

-180 gram audiophile quality double LP

-Gatefold cover artwork features previously unpublished original Blue Note session photos

-Limited to 1,000 copies

Introducing a new label, Koko Music, founded in West London by a long time friend of ours. Their first release:

'Allegedly Coltrane's favourite singer, Andy Bey recorded as vocalist for Max Roach ('Members, Don't Git Weary'), Horace Silver ('Won't You Open Up Your Senses'), Gary Bartz ('Celestial Blues') and Stanley Clarke in the late sixties / early seventies. He released one solo album and then disappeared from view for 20 years, resurfacing in the nineties.

This 1998 album showcases his four-octave range, the intimacy of love songs and raw power of the blues on a mixture of standards ('Pretty Girl', 'Some Other Time'), Latin ('O Cantador', 'Drume Negrita'), modern (Nick Drake's 'River Man'), and a couple of original tunes. Available for the first time on vinyl, cut at 45rpm, it features Andy on vocals and on piano, with appearances from Gary Bartz and Geri Allen.'

Caetano Veloso's seminal first '68 Tropicalia monster in MONO, must have or what...

First Authorized North American Vinyl Issue of Caetano Veloso Courtesy of Third Man Records!

IN VERY RARE MONO VERSION

Caetano Veloso's self-titled debut solo album is one of the most important and influential Brazilian (and, dare we say, South American) albums of all time. With the release of this seminal album, Veloso would become the leading voice of Tropicália. The songs on this album immediately connected with people. "Alegria, Algeria" was his breakout hit that gained traction as a hymn for liberty advocates, juxtaposing images of Coca Cola, guerrilla groups, bombs and Brigitte Bardot as part of the everyday experience. The album's first song "Tropicália" was an anthem for the whole movement; it's a fragmented allegory, a structure borrowed from friends in the concrete poetry scene, touching on divergent cultural symbols, events, allusions and idioms, nimbly representing and critiquing the many contradictions in the new Brazilian dictatorship.

"Superbacana" (translated as "Supergroovy") follows a hyperbolic superhero's use of technology to fight a gang of cowboys led by the money-hungry Uncle Scrooge, serving as allusions to American imperialism and greed felt in their country, all in the rapid-fire structure of a comic book. The subtext in all these songs, which the dictatorship would not immediately catch, were that these repressed but glaring contradictions, not the bountiful sunny paradise that the military regime was pushing, were the true national identity. Unfortunately, these cleverly veiled jabs in Veloso and his contemporaries' bodies of work gained greater and greater exposure as the movement became more and more popular, leading to the arrest, imprisonment and forced exile of Veloso and many of his cohort. Despite these difficulties, the Tropicalists continued creating in exile, strongly influencing artists both at home and abroad.

This is the first authorized North American vinyl issue of Caetano Veloso. Whether you're a longtime fan or first-time listener, Third Man Records could not be more proud to spread the compelling story of this album, this artist and the Tropicália movement.

Since releasing his Caboclo EP on Big In Japan in May (support from Dom Sirvini Wah Wah 45s, BBC Radio 3 The Late Junction, Mixmag, Trax Magazine, and more), Lagartijeando (pronounced 'Lagar - ti - eh - hando') has packed in a European tour including sets at Fusion, Melt, The Yard (with Tim Garcia), Le Mellotron & more.

Synonymous with pushing the Latin electronic scene forwards with contemporaries Nicola Cruz and Chancha Via Circuito, he signed to ZZK records (Nicola Cruz) in '09 and went on to release on Waxploitaton (Gnarles Barkley), Wonderwheel (Nickodemus) where his album was in the Bandcamp top 100 albums of 2017.

Lagartijeando has now produced a very special EP with a choir from an indigenous tribe called Coro Qom Chelaalapi. The choir formed as a means of passing down their culture to future generations in the absence of any formal records. They have been declared a living cultural heritage by UNESCO.

Blending traditional songs with brooding beats and big grooves, The Revisión EP is a unique and special collaboration exploring the tribe's rich musical heritage with contemporary production.

The original songs have a mythology and their bespoke instruments have deep significances. The nivike is a single string violin (representing the sounds made by a jaguar sharpening its claws on a tree trunk) and was used as a form of communication to contact loved ones or to find love amongst the mountain dwellers.

Track 1 - Antiguos Dueños De Las Flechas (Ancient Owner Of Arrows); the dark brooding bass and haunting vocals tell the sad story of the Spanish conquistadores destroying local tribes' agriculture & way of life.

Track 2 - Lapacho - Lagartijeando lays down a big groove to accompany the choirs' infectious vocals. It is about a tree that when in bloom signifies the start of marriage season.

Track 3 - Zorro Zagas is about a fictitious character who takes advantage of other people. A rambling beat and the playful nivike are a reminder to the young not to take advantage of their fellow tribesmen.

Track 4 - Inti Che Remix - gives Antiguos Duesos De Las Flechas a minimal, bass heavy make-over that wouldn't be out of place on the Drive movie soundtrack.

Track 5 - Klik & Frik Remix (who have previously released on Waxploitation) have produced a down-tempo dreamscape around the choirs' vocals.

Track 6 - Ohxala Remix switches things up on Zorro Zagas and turns it into a deep house stomper.