Buscar:will e tell

The Turbo debut from Gilmer Galibard is a collection of four dark, visceral techno floor-destroyers from a young Canary Islands-based producer about whom we know relatively little. It also marks the label's first release to feature a swear in the title, offering a foreboding glimpse of the paranoid machine-driven warehouse terror contained within. "By now you will have heard the demo in its entirety and are still dancing whether you want to or not. For my purposes, you will use the Search Engine Optimization terms "Dark," "Visceral," "Techno," "Floor-Destroyers" and "Paranoid Machine-Driven Warehouse Terror" to ensure that it finds its way to the 83 people who need to hear the release through this specific channel. You may tell people I am 26 years old and from the Canary Islands; both facts are true and sound comforting enough but as you now know this does not matter. Print this in its entirety and leave the release title unchanged. I would say I've said too much but that is impossible because as you've come to understand all of this has already happened.

Gerd Janson and Phillip Lauer are creatures of habit. Every week, the two club veterans meet up at Phillip's studio and spend an entire day making tunes. And while Gerd often likes to joke that his role in the arrangement is limited to making coffee and looking at his cell phone, it's clear that the two men have forged a potent partnership, one that's been responsible for an astonishing amount of dancefloor heat over the past few years.

Incredibly, this German pair has managed to maintain a relatively low profile, despite the steady stream of music they've released via well-respected labels like Unterton, Delsin, Internasjonal, Permanent Vacation and Live at Robert Johnson. And then there are the remixes—Azari & III, Scuba, The Juan Maclean, Fort Romeau, Avalon Emerson, Massimiliano Pagliara and Sinkane are just a small sampling of the artists who've enlisted Tuff City Kids to work their studio magic.

Throughout it all, there have been whispers of a proper Tuff City Kids album, and now that Adoldesscent has arrived, it will be all but impossible for the duo to linger in the background. After all, the LP is anything but shy—thanks in part to hooky vocal turns from the likes of Annie, Joe Goddard, Kelley Polar and Jasnau—and even the album's instrumental cuts feature some clear nods to various eras of dance-pop, from the boogie-inflected funk of 'Wake People' to the breakbeat techno of 'Boilered' and the tweaky rave nostalgia of 'Nordo.' Elsewhere, first single 'Labyrinth' is an infectious bit of new wave, while the guitar-driven 'Scared' recalls the gloomier side of '80s pop and 'Tell Me' is perhaps the record's most playfully soulful moment.

DJs will likely gravitate toward the darting strings of 'Aska' and breezy vibes of 'Farewell House,' yet Adoldesscent isn't entirely focused on the dancefloor. Dreamy opener 'Ophmar' evokes the legacy of John Carpenter, while the crunchy 'R-Mancer' offers up a sort of psychedelic synth freakout.

Much like the Tuff City Kids themselves, Adoldesscent isn't about any one style or sound in particular. It is, however, a cohesive effort, along with proof that the different corners of the electronic spectrum have a lot more in common than we'd all like to admit. More importantly, it's a whole lot of fun, and isn't that what dance music is supposed to be about anyways

Chicago Basement Trax returns with an homage to the king of the raw himself Ron Hardy. Those that experienced Ron Hardy first hand will tell you there was a vibe like no other. A minimal space with strobe lights and a bangin system. If you put your hands on an EQ or isolator as a DJ thank Ron as being an innovator of this creative style of frequency manipulation. Not only did Ron drop the bass, he dropped whole songs to expose the beautiful crispy hi hats, vocals and then romanced you with the piano before slapping your whole body with the beat. This ep does it's job to take you there, just close your eyes and blast off!

After making some massive claims regarding electronic music last year which caused a stir in the dance music community, Mat Zo had a lot to live up to with his long awaited second album "Self Assemble". What didn't help was the fact that his first album, "Damage Control" was critically acclaimed by many within dance music and is now considered a modern-day masterpiece with mesmerising tracks such as The Sky and the massive Easy with Porter Robinson.Blending genres and sounds in a way only Zo can achieve, this record flows incredibly well as the tracks move from one to the other almost telling a story of the different styles of electronic music. At times the album is reminiscent of Zo's incredible Essential Mix from back in 2013 in the way that it progresses and constantly surprises the listeners. A lot funkier than Damage Control, it's no less incredible.
Beginning with the beautifully atmospheric "Order out of Chaos" which starts with an absolute wall of sound that boggles the mind in how Zo even went about designing something so complex, this sets the tone for the rest of the record in a cracking way. The melody soon crescendos and we're introduced in to the meat of the album with "The Enemy". Bringing out all the good funky vibes on this track, again Zo exhibits his insane production talents which are a staple of the album. Featuring vocals from the wonderful Sinead Egan, this is a great uplifting tune that'll no doubt have you dancing in your chair or in the club.
'Sinful" acts to continue the funky good-time vibes and transports us to a cool summertime drive. It has us yearning for happier times and again the guest vocals from I SEE MONSTAS go a long way in getting across this happy vibe. Featuring an uplifting almost french house inspired bassline and squelch synths that wouldn't look out of place on a Daft Punk or Madeon record, this is another stunning track from the record. "Patterns Emerging" feels like a bridge into the next section of the album and is unfortunately short. The orchestral element really brings out the emotion on this track and we only wish it was longer. "Killing Time" has those classic chopped up vocals that Zo uses to great effect and some nicely programmed drums that could be a nod to the drum and bass he used to put out under MRSA.'Smacked up on Jack" features some cool middle eastern sounds and a wacky vocal sample that helps to progress the album and keep the listener interested, again though we feel like it's a bit too short and are left wanting more. The next tune "Ruffneck Bad Boy VIP" is an absolute mammoth and one of our favourites off the record. Opening with an immense rhodes melodic sequence and after some nice vocals, the track rips into the electro house and dubstep infused banger that it really is. Some dirty, dirty sound design and drum production will have the dance floors going wild and shows us again why Zo is so good, it's a far cry from the funkier elements of the earlier stuff on the album and shows how Zo can show off a range of electronic sounds. "Lights Out" is a straight up hard hitting electro banger with an infectious vocal sample that only needs to be heard to be understood. Not much more needs to be said about it! Coming into the last section of the record, "Soul Food" returns us to the groove with an astonishing house beat and bass line that have us questioning how Zo makes it so hard not to smile listening to this album."Stereo no Aware" starts sounding like it's taken straight from a space movie epic and soon transforms into a goose bump inducing melody with a driving growling bass line that bring back the epic dubstep we all used to love a couple of years ago. Skrillex eat your heart out. Finishing off this record on a more emotional note, "Too Late" starts off like a guitar ballad and then transforms into something totally different. Egan's melancholic vocals enhance this track to great effect and is all backed by Zo's lovely downbeat production until we're treated to a monster of a climax around half way through the track which will surely blow the cobwebs right off you. Zo says goodbye to us with the phenomenal "The Last Transmission" and what a way this is to close out an incredible sophmore album for the English producer. The melancholic piano chords are a subtle and pleasing way to close out this journey of a record. Mat Zo really has outdone himself here and we're really looking forward to hearing some of these bombs dropped live. Surely a contender for album of the year at such an early stage, yet again it's only the best delivered by Mat Zo.
Latest album, Damage Control was Grammy-nominated for Best Dance/Electronic Album last year

Our planet... IS NEXT! Yes, this is in fact the case, at least according to one Stockholmdwelling, 30-something (wishes-he-was-a) failed pop star, real name Arvid Wretman. Just how he fell from his position as poster boy of Kärrtorp's ever-vibrant noise scene to the pill-popping, Cher-covering discotheque pleaser standing before us today, we could not tell you. What we do know is that Studio Barnhus stands ready to ride that cash train all the way 'til the bitter end! So yeah, wanna pop some pills Or do you wanna chill Varför alltid dansa och spela det ena ...and do you, or not, believe in life after love These and many other questions are posed, but never answered, on this YPIN EP, the starting point of what we hope will be a particularly lucrative bizniz venture between those two powerhouses of Scandi-tronica, Your Planet Is Next and Studio Barnhus. PS. Your Planet Is Next's live show will bring added marketing value and guaranteed customer satisfaction to your dance party

Gari Romalis and Lello Di Franco - Dreamin For the uninitiated, our man Gary Romalis is the unsung master of Detroit's house and techno scene. Having DJed across the motor city's top venues for the last three decades, Gary is somewhat of a seminal figure for many of Detroit's DJs currently at the forefront. Following a slew of high quality releases on various labels over the past few years, Gary now unleashes that special flavour on us for SKYLAX 142! He is not alone though. With him, he brings all round Italian partymaker, and top selector in his own right, Lello Di Franco. Let me tell you, this duo's collaboration is something to behold. Throughout all 3 tracks on the record, Gary and Lello maintain the essence of what the Detroit underground is all about; stripped back tracks with soul that never feel like they go 'big' for the sake of it. While Dreamin (Wanda Mix) may be packing a big kick and power clap combo, it's the elegantly filtered, jazzy sample that will leave you wishing that the track lasted forever. The vibe takes a dip right into the deep in Detroit Underground (Beat Dat Mix). Spacious pad synths alongside a mesmeric vocal carry us through. Taking a step back up, Afrobeat rounds off the EP, made with a solid toolkit of afro-centric samples.

You can call them a »supergroup«, but Moderat understands that it's the »group« aspect that makes them interesting.

Gernot Bronsert, Sebastian Szary (aka Modeselektor) and Sascha Ring (aka Apparat) have been working together as a trio almost as long as their two separate projects have existed. We've seen their collaboration grow from »laptop boy-band,« (as Ring playfully puts it) in 2003—with computers synched using software Ring himself had written, because at the time, »there was just no live performance software around.«

Ring confesses that Moderat wasn't »really meant to be a recording act ,« with Bronsert agreeing that, »it was really just about fun.« This maybe explains the six-year break that followed Moderat's first EP before they finally returned in 2009 with their selftitled debut album. Intent on creating something that contrasted with their own projects, the group started the cycle which blossoms on their second album, aptly titled II, culminating now in the trilogy's completion, III. Whereas I was the combination of two separate entities, II brought the members closer together, and in III, the final chapter in the trilogy, Moderat sounds like one band.

Both Szary and Ring will tell you that Moderat moved progressively from making tracks towards a more traditional writing approach of making songs - a process more fully realized on III. That's partly why the vocals have become more prominent. Mostly, you hear Ring singing (there are no guests this time), as he so often does as Apparat, but listen closely to »Ghostmother« to hear Bronsert and Szary backing him up. Stepping out of their comfort zone is the kind of thing that helped create their interplay between pop and electronics; doing it right won them the Resident Advisor Best Live Act honor as early as 2009, and they continue to gain popularity while remaining independent and underground.

Szary describes the idea behind Moderat as, »imagin(ing) yourself sitting in the cinema and watching a movie with an incredible soundtrack.« This is true with Moderat in general, but III in particular pairs an emotional pull with sensual imagery, creating dynamic sound and depth with lyrics such as »the calming scent of lavender fills the air,« or »burning bridges light my way.« You'd have
to ask them whether they're intending to manipulate the listener in the same way that John Williams or Hans Zimmer might with traditional orchestras.

One of the best parts of Moderat is their use of electronics to achieve orchestral diversity. They update the songwriting tradition with an intriguing palette, borne of careful attention and skill, informed by their »experiences with sounds of nearly 25 years of suband club culture.«
Let's not forget that these three were brought together by Berlin's now legendary rave scene. With this as their common foundation as individuals, III signifies Moderat's maturation in modern pop — an achievement shared under their collective belt.

Bronsert explains that, »the new album isn't based on jams. We went into the studio and knew exactly what we needed to do.« This is reflected in the sophisticated themes explored in the music. Take »Ghostmother,« which ponders inner peace, acceptance, fear of the unknown and how facing that fear often reveals something not so scary. Or »Running,« which is about being part of a mass that constantly needs to move to function, but doesn't have the power to decide the direction of motion. Or how about the wisdom of »Reminder,« which recognizes the world for its flaws and our role we've each played in that, but choosing to act differently and light the way to something better.

Given that, it's a bit of an understatement when Bronsert says, »I'd say our music has definitely matured.« Successful in their own endeavors, now they've mastered the »group«. It doesn't mean the end of Moderat, but it does mean they'll have to find something else to excel in.

House of 909 consisted of producers Nigel Casey, Trevor Loveys, and Affie Yussuf (Loveys and Yussuf are both still very active today), and vocalists Azeem and Bobby Depasois.

In 1997, they released an album of rolling deep house gems that were as evocative as they were posh. The tracks contained vocals and the subject matter dealt with youth, and leaving it. Like so many worthy releases, the record was critically respected but criminally under-celebrated.
Over the years Cascine developed an affinity for the album, connecting with its soft-focus approach to house music. This summer, Cascine will reissue The Children We Were in limited vinyl form. The music has been remastered, the artwork redone and the record repackaged. It's a lovely body of work, presented now through the eyes of Cascine.

After the success from OLVA001, which was appreciated worldwide Moratu returns with OLVA002 which contains two tracks, extremely well constructed and hypnotic melodies.

Oldvavis is a Romanian electronic music record label founded by Florin Gavrila aka Moratu .

Oldvavis releases will promote quality, both on musical production as on producers and artists.
The world is changing fast and so is the music. Music is an art that puts sounds together in a way that people like or find interesting.
Music also tells stories, breaks hearts, reduces us to tears, or seduces us into falling in love, over and over and over again. Music is a universal language. A human creation from a divine source... perhaps.
Music is a mystery, a code. A vehicle of spirit and soul. It is perceived through 'hearing' the vibration of sound, the most sublime resonance - from the eardrum to the brain. Music moves us beyond intellect to the heart-centre.

Oldvavis is specialized in new sounds and electronic riffs, with old school spices and eye on the future. From techno, minimalism, to soul, tech, deep underground, with organic and synthetic textures, always with an inner feeling.

A1, "Capitulo 4". We find Gregor surprisingly accepting of his new reality: far from going crazy, he has serenely discovered in his new self everything he didn't know and didn't perceive as a human being. "Capitulo 4" is an incredibly precise description of the awakening of the new Gregor. Shadows, fog, sinuous silhouettes that are impossible to identify. In one word: confusion.
B1, "Capitulo 5". Vertigo starts to ease, we can hardly feel the anguish and the heartbeat is gone. We are in a new reality and although it seems a done deal, every movement he makes tells Gregor that understanding this new world and his perception of it will not be easy. Chapter 5 demands our everything while we listen: our full dedication and attention to the last minute detail that reveals a new horizon and its new colour, or lack of it. A horizon that, nevertheless, is more perceptible for Gregor, because he can now capture all sorts of colours and emanations.
B2, "Capitulo 6". Light. Gregor still ignores that most domestic insects have a strong aversion to intense light, but his human conscience is still intact and it will take him a long time to reprogramme certain habits, instincts and automatic behaviours, like a preference for lit environments. The painfully intense sensation that his antennae convey to his tiny brain when faced with light is an effective path to learning: little shocks that Reeko reproduces in this track, surrounded by an oscillating and changing ambience that redefines itself each time we listen to it.

Speedy Ortiz is proud to announce their sophomore album, Foil Deer, which will be released via Carpark Records on April 20th.

'Major Arcana' released in 2013 won them glowing reviews , features and several UK tours (highlights below):

- 4 PAGE NME FEATURE

- 9/10 LEAD REVIEW IN NME: 'One of the reasons 'Major Arcana' works so well is because it's addictive and fun. The guitars and bass sound incredible, like the last Deerhunter album without the Yankee Doodle Dandy'

8/10 Drowned In Sound : ' Speedy Ortiz are way too euphoric and glorious to suffer for their artfulness. Stripping away the frills, at heart Major Arcana is a mournful treasure that asks to be celebrated.'

*NME RADAR FEATURE: 'What's miraculous, though, is that Major Arcana doesn't sound at all self-pitying; it's torrid Slint-meets-Pavement rattle bolsters Sadie's relished words so that yelling along is an exercise in gleefully exorcising your own demons'

8.4 ON PITCHFORK: : 'There's the squalling, guitar-on-guitar carnage of Archers of Loaf, the grungy mysticism of Helium (Dupuis lifted the title Major Arcana from a book she was reading on black magic), and of course the deadpan wit of vintage Liz Phair ('I was never the witch that you made me to be,' Dupuis tells a burnt-out old flame on 'Plough', 'Still you picked a virgin over me').

Standard LP is gatefold, single black LP with chapbook, plus digital download card.
Deluxe LP Is as above but with metallic gold coloured vinyl, and sticker.(200 ONLY FOR UK)
CD comes in digipak with a folded poster approximating the chapbook in the LP.

Speedy Ortiz said they would get the flowers themselves. What a lark! What a plunge!

When considering Massachusetts' Speedy Ortiz, that line from Virginia Woolf comes to mind. Not only for the obvious echoes to DIY, a form and function that's characterized the band's nascency, but in the proto-feminist undertones driving much of their sophomore album, Foil Deer. "I'm not bossy, I'm the boss," Sadie Dupuis sings on "Raising the Skate," invoking in spirit one half of the Carter-Knowles clan and echoing the other's wordplay. And wordplay makes sense, considering Dupuis-the band's songwriter, guitarist, and frontwoman-spent the band's first few years teaching writing at UMass Amherst. She's drawn to the dense complexity of Pynchon, the dreamlike geometry of Bolaño, the confounded yearning of Plath-all attributes you could easily apply to the band's 2013 debut Major Arcana, which fans and press alike have invested with a sense of purpose and merit uncommon in contemporary guitar rock.

The group, including Mike Falcone on drums, Darl Ferm on bass, and new addition Devin McKnight of Grass is Green on guitar, have spent the last year on an almost endless cross-continental touring jag, tagging along with the likes of The Breeders, Stephen Malkmus & the Jicks, and Thurston Moore. That shift into full-time musicianship brought with it an attendant reordering of priorities when it came to songwriting, and the band members' lives in general. They would get the damn flowers themselves.

Dupuis wrote much of Foil Deer at her mother's home in the Connecticut woods, where the songwriter imposed a self-regulated exile and physical cleansing of sorts, finding that many of the songs came to her while running or swimming alone. "I gave up wasting mental energy on people who didn't have my back," she says. "Listening to our old records, I get the sense I was putting myself in horrible situations just to write sad songs. This music isn't coming from a dark place, and without slipping into self-empowerment jargon, it feels stronger." Many of the songs deal with a similar sense of starting over, editing out the unnecessary drama. "Boys be sensitive and girls be, be aggressive," she sings on "Mister Difficult."

And while their debut album was recorded on the fly, Speedy Ortiz spent almost a month in the studio on Foil Deer. Falcone's drums are taut, mechanistic; Ferm's bass ranges from the aggressive rattle of an AmRep classic to smoother, hip-hop inspired lines. McKnight, meanwhile, lends spacier, textural riffs to complement Dupuis' wiry, melody-driven guitar style. "The demos for our songs have always had tons of small details and production experimentation, but we never had any money to pay for more than a couple days in the studio, so the songs came out very live-sounding and guitar heavy," Dupuis says. It was recorded and mixed at Brooklyn's Rare Book Room with Nicolas Vernhes (Silver Jews, Enon, Deerhunter), with the record mastered by Emily Lazar (Sia, Haim, Beauty Pill), lending a more polished sound and a pop sensibility that will stand out to existing fans and new converts alike. For all the lyrical complexity and guitar-based excursions Speedy Ortiz have built their reputation on to this point, Foil Deer has a sense of light-footed fun. What's the point of doing things yourself if you're not going to enjoy the trip

Standard LP is gatefold, single black LP with chapbook, plus digital download card.
CD comes in digipak with a folded poster approximating the chapbook in the LP.

Optimo Music is usually known as a 12" label, but occasionally something rare and dangerous comes our way that compels us to release a full length album...

It's not exactly a dance album, although there is music you can dance to on it. It's more filmic in nature, with gads of references to wonderful directors like Kubrick and Carpenter that will enthrall a film buff, particularly if they're interested in electronic and dance music. There's a sleazy and unsettling feel to much of the tracks ("Tina Weymouth" is a sleaze-floor monster groove...), but we hope it will intrigue and delight!

The film references are directly relevant as Felizol and The Boy are film directors Yiannis Veslemes and Alexandros Voulgaris, who live in Athens, Greece and have composed music for numerous feature films. They also perform live in house clubs, heavy metal dungeons and hippy-friendly festivals...

They have this to say about their release: "We had a loose concept for this album and we compiled tracks that we've recorded the last 3 years that have to do with the cannibalism. Literally but also as a metaphor for the blessing and the tyranny of paying homage and influenced from music and films (and directors and musicians).

So these are songs about the agony of creating something new and personal when so much information and influences are fused in them."

This ep is brought to you by serbian dj and producer Dejan Milicevic and is a reflection of a long period of music consumption and numerous attempts to find the right kick drum. The obvious clash between nu school in terms of editing and old school in terms of sample choice will make you dance with a tiny nostalgia as if you were a clubber back then. The sound of Roland 303, 808, 909 for sure will take you where it all began with an extra touch of sophisticated production width and a cracky neve on top of it. The tracks aligned tell the story of true and raw chicago influenced dance floor slammer and be sure to check all 3 tracks in your next dj set to see what happens with the crowd below. Stay tuned for more to come in the close future.

Limited to 300 copies.




It's been a while since we've heard a jam as bruising as Nonsense. Titles in techno often don't tell you much, and we'd go as far as to say this badboy is really more no-nonsense. This one will blow the stack, with cavernous kicks, down-the-line 909 claps and hats, and good old fashioned warehouse bells. Decision is a jackin factory floor jam. Spitting percussion that's reverbed to the roof, combines with a one-note synth and pacy high-end work for a full-on strobe light track. Myk Derill goes DIY on his re-work of Nonsense, bringing more detailed rhythm work and creating a dynamic jam that ebbs and flows, constantly moving in and out of focus. Polishing off this belting release is Imprinted - an atmospheric sci-fi rhythm reminiscent of Convexion or even Monolake - a very nice little surprise on an otherwise heads-down release.

Tigersushi surprise us and drop a new 12" from label boss, Joakim... 2 Gloriously Produced Tracks, As Usual...!
Almost 2 years have passed since Joakim released Nothing Gold. Not that he's been lazy. Those 2 years have probably been the busiest for the tall Musician/producer/DJ/label manager who produced numerous bands in his Fountain Studio in Paris (Zombie Zombie, Montevideo, Alba Lua, Acid Washed and more...). Joakim also did a few remixes (Aeroplane, Charlotte Gainsbourg, Lescop, Arsenal, Renaissance Man...) ans recorded a collaboration EP with Kindness that was the debut release on his new label Crowdspacer. Not to mention the constant touring, running Tigersushi records and a move from Paris to New York city!

Since Joakim has 4 hands, he also managed to start recording some material for a new album between 2 recording sessions and just before he had to move his studio out, he finished those 2 tracks : the slow, claustrophobic but hopeful « Heartbeats » and « Another Light » which brings that subtle typical melancholy to the clubs.

Now Joakim is setting up a mini home studio in his flat in NYC, somehow going back to his roots when he started making music at his parents house with a cheap keyboard more than 10 years ago. Usually in the music business, artists release a first single once the album is finished and start a promo campaign from there. But Joakim doesn't really understand the music business (don't tell anyone!), so he decided to release those 2 tracks without having any more finished material for his upcoming album nor an idea of what it will be like. In those times when everything is instant, he'd rather release new material leading to an album while the tracks are finished. Just like a work in progress you will witness an album taking shape before your ears.
This is a way to bypass the traditional rhythm of an album launch when everything needs to be done and ready months before the actual release, which usually results in the author being already bored and working on something else when the music comes out.

Repress!

FORMAT: DOUBLE 180 GRAM HEAVY WEIGHT VIRGIN VINYL PRESSINGS INCLUDES MIX CD AND HIGH QUALITY COVER ART PRINT
LIMITED EDITION 1000 COPIES WORLDWIDE

This classic late night tales release is now finally available on heavy weight double vinyl, released back in 2010 this edition has gone on to become one of the most successful albums in the series 12 year history, cut using the unique 'half speed' mastering technique's and pressed on virgin 180 gram vinyl this is the ultimate audiophile format, each beautifully pressed disc is housed in a special anti static inner sleeve and comes with a special 30cm cover art print and the package also includes the original CD mixed disc and 12 page booklet.
CD UNMIXED TRACKS (FULL REMASTERED VERSIONS)

repress

To celebrate the 10th release on Lunar Disko Records, we will also be releasing a 10" from that boy Automatic Tasty. LDR 10.10 is a conceptual 4 track EP named Fieldwork. Automatic Tasty tells a tale through his machines of a lonely Wicklow field from dawn till dusk....limited red vinyl pressing

Altercat proudly presents the definitive reissue of one of the crown jewels of South American jazz. Essentially the brainchild of Argentinian jazz's leading figure Jorge López Ruiz, the project Viejas Raíces marked López Ruiz's departure from the traditional forms of jazz. The trio that recorded this album, consisting of López Ruiz joined by his life-long friend drummer Pocho Lapouble and gifted Chilean pianist Matías Pizarro, created a thrilling blend of jazz and Uruguayan candombe, surrounded by an undeniable cinematic feel spurred by López Ruiz's long experience in the soundtrack field. When read as one element, the cleverly chosen combination of group name and album title (in English: 'Old Roots of the Colonies of the River Plate') readily hints at the kind of sounds the listener will be challenged with when diving into this LP.

Recorded in 1976 in the wake of the "Proceso de Reorganización Nacional", the bloodiest period of dictatorship in Argentina, the album was initially frowned upon by critics and public alike, both still firmly rooted in jazz traditionalism and obviously not ready for the new ideas that musicians like López Ruiz were experimenting with. Despite being a commercial flop upon its release, the album has been enjoying a growing reputation over the last two decades, acclaimed by jazz enthusiasts who value it from a different historical perspective and embrace its experimentation during this revolutionary period of change.

Forty-five years after its release, the album receives the Altercat treatment with a much deserved deluxe reissue, with sound direct from the master tapes and an accompanying 12-page booklet with previously unpublished pictures and bilingual liner notes telling everything you ever wanted to know about the album and those who made it possible.