MUSIC

Cape Town, South Africa-based drummer Asher Gamedze explores relationships of time between music and history on his new album Turbulence and Pulse, out May 5th 2023. Gamedze’s critically-acclaimed debut album Dialectic Soul was released at the height of the Covid-19 pandemic in July 2020. Around the release of that record, with friend and writer Teju Adeleye he organized and participated in a joint online discussion “Poesis,” with historian Robin D.G. Kelley and others. One of the notable comments made in this session was by the poet and scholar Fred Moten, who described Gamedze’s drumming as an “amazing interplay between turbulence and pulse. Pulse is supposed to regulate and also be regular, but the turbulence underneath it and on top of it, it’s just extraordinary.” Moten added that this concept is a fundamental element of the percussive approach in Black music more broadly. Turbulence and Pulse takes its title from this moment of synchronicities. Inspired by this description, Gamedze developed the metaphor further, expanding the concept of turbulence and pulse through the lens of history. “Time in music is a metaphor for thinking about time in history and how time moves,” he says. “The way we’re taught history is generally in a way that robs people of agency in imagining themselves as part of history and how it unfolds. It is something that happens to us. I think there's a productive metaphor in that because the sense of time in music is created by musicians playing together. If we can use that to think about history and time in history, you can see that, actually, history is created by people in a whole range of ways. At the heart of it, historical motion is created by people organized and acting together, whether for progressive or reactionary ends.” For Gamedze, the underlying message of Turbulence and Pulse is “to claim a form of historical agency and realize that the future is not a foregone conclusion. As people we can organize, to transform our world in small and big ways.” This concept comes out of Gamedze’s involvement in radical cultural work and political organizing. He adds: “One of the ideas that I've had for a long time is to unsettle the way that people think about culture as something static or as something fixed. There’s this tension in Africa, because of the way that the colonists have constructed visions of African culture, where people speak about this need to conserve culture and document it. I think that's important, but you also have to understand that these things are moving. And we are the people who have to participate in that movement.” For the album artwork, Gamedze extends the visual aesthetic of his previous release with a hand-drawn illustration. “I feel like my drawings represent the inside of my mind. It’s very free and improvisational,” he says. Friend and designer Naadira Patel worked with Gamedze to design the final cover layout, which includes liner notes penned by his sister, writer and artist Thuli Gamedze. Turbulence and Pulse comes via the partnership of Chicago-based International Anthem and Johannesburg-based Mushroom Hour Half Hour, as the first collaborative release by the two labels.

Although perhaps not a household name like Sergio Mendes, Marcos Valle or Flora Purim, Bororó is considered to be one of the most important and talented Brazilian musicians of his time. Taking his moniker from the indigenous people of his country, who live in the state of Mato Grosso, Bororó steadily built his career for well over a quarter of a century, along the way performing live and in the studio with such legends as Gal Costa, Milton Nascimento and Caetano Veloso. Born Dimerval Felipe da Silva in 1953 in the central Brazilian city of Goiânia, the capital of Goiás, this composer, singer, arranger, producer and multi- instrumentalist first took an interest in his father’s guitar at the tender age of twelve. This was closely followed by his second love, the drums, as Bororó found himself onthe sticks with a local dance combo called The Mad. Much of his early professional life was spent deeply involved and inspired by the burgeoning music scene of Rio de Janeiro and the emerging Clubs Da Esquina movement, and his abilities on a plethora of stringed instruments, as well as his natural talent as a drummer, would later make him a popular figure among artists as diverse as superstar musician and producer Peter Gabriel and Brazilian samba queen Beth Carvalho, bothof whom he worked with extensively during the late m1980s and early 1990s. One of his most significant moments came in 1979 though, when Bororó made his debut with the Orquestra Sinfônica De Goiânia, conducted by Maestro Braz Pompeu de Pina, and made plans to use members of the orchestra on his first four-song release that same year. The resulting EP was written by four collaborators - Carlos Ribeiro, Gustavo, Nasr Fayad Chaul and Lilian. Despite a lack of budget, and using Bororó’s connections with the owner of the legendary Araguaia Studio, the collective managed to record the EP on four tracks, using limited resources and a budget cobbled together from their work making commercial jingles in the very same studio. The EP’s opener is the sublime and evocative title track, A Tempo e a Gosto. Written by Fernando Perillo, it was one of the young musician’s first recordings and features him dueting vocally with Bororo who also provides acoustic guitar and bass, with Gringo on drums and Napa on keys.

Before Edu released this album, he tried to break the English speaking market by releasing his “Sergio Mendes Presents Edu Lobo” album. This collection of his hits that he rebuilt and sung in English, was an opportunity for this market to experience an authentically new-Brazilian sound that was the equal of anything out there. So self assured of his own talent Edu came back to Brazil and concentrated in making an album that would make a statement on the importance of free will. His own terms were his unique Nordeste sound and just mind-boggling great arranging talents that came from Brazil’s folkloric and regional roots. He took what was becoming a generic mainstream jazz-influenced bossa nova sound and went beyond it displaying what he thought the pinnacle of post-bossa nova sound could be.

Jards Macalé’s biography is a testament to the electrifying energy of music and the unwavering spirit of artistic rebellion. Macalé has remained true to his vision, unapologetically embracing the unconventional and challenging the status quo. His music, a conduit of emotion and a mirror to society, continues to weave a sonic tapestry that resonates with the souls of listeners. In 2022, Macalé celebrated the momentous 50th anniversary of his debut solo album, a groundbreaking masterpiece released by Philips in 1972. This iconic record gifted us timeless tracks such as “Vapor Barato”, “Mal Secreto”, “Farinha do Desprezo”, “Revendo Amigos”, and “Hotel das Estrelas”. Its sheer brilliance united the realms of Brazilian music, infusing samba and bossa nova with the fiery essence of rock, classical harmonies, and the improvisational spirit of jazz. As the years passed, a new generation of musicians and fans discovered this gem, fueling its resurgent popularity and inspiring fresh collaborations. Last year, Jards Macalé assembled a formidable new band, igniting stages across Brazil with a tour that now sets its sights on Europe. Together with Gui Held on guitar, the Paulo Emmery on bass, and Thomas Harres on drums, Macalé conjures an exhilarating homage to his illustrious body of work. This live performance embodies the untamed spirit and boundless musical freedom that define this visionary artist, transporting audiences to a realm where the past intertwines with the present in a breathtaking display of artistic prowess.。

The first album by Joyce – one of our favorite Brazilian singers ever! The album's a wonderfully lyrical batch of tracks – many written by Joyce herself, plus a few by Brazilian songwriters Jards Macale, Toninho Horta, and Marcos Valle – and the orchestrations are by Gaya, and played on a number of tracks by Dori Caymmi and his group. The style shows many elements of Joyce's later unique style, filtered through a more standard late bossa sound – light and breezy, but with a bit of a dark edge that's in a classic Jobim mode. Includes the track "Superego", which feels a lot like Joyce from the 70s – plus the lovely "Litoral", and the tracks "Me Disseram", "Nao Muda, Nao", "Cantiga De Procura", "Choro Chorado", "Bloco Do Eu Sozinho", and "Improvisado".

Hermeto's first album recorded in Brazil, and his second solo album (the first one was recorded and released in the USA). Performs as composer of "Bebê" "Plin" and "Serearei", arranger, conductor and instrumentalist. The most experimental record of the master where he shows from beautiful themes like the choro Bebê, which is already a classic of his authorship to deconstructions of well-known themes like Asa branca and Carinhoso. On the track Sereiarei you can even hear an "orchestra" of pigs, geese and other animals. The opener track Bebê was sampled in 1994 by Japanese acid-jazz group United Future Organization.

An interest in ancestral Latin American cosmology has always run right through the music of Ecuadorian music producer Nicola Cruz. His creative process involves an attentive, careful search for the living roots and rituals that are part of South American identity—its Andean and African origins in particular—valuing its rhythms, its oral traditions, its instruments and the energy they transmit. His first record, Prender el Alma (2015) explored the development of the consciousness and spirituality, and how they connect with music. In Siku, his most recent production, Cruz continues this exploration, expanding his vision towards new stories and other cultures as sources of inspiration. A crucial aspect on this journey is his collaboration with other artists from around the world. The siku is a wind instrument of Andean origin, highly symbolic in ancestral rituals, made up of two separate, complementary parts, the arca and the ira. It is a representation of duality, an essential element of the indigenous world view, associated with involvement and complementarity, far from the binary thinking typical of western societies. That duality is reflected on this record in the coming together of sounds, whether electronic or organic, past or present, local or global. On Siku, Nicola Cruz combines instruments with symbolic, spiritual connotations, such as the sitar, the siku, and the balafon with hints of electronica. Studies of the samba, cumbia and rhythms of African, Andean and Hindu origin are combin

To celebrate the 21st anniversary of Juana Molina’s breakthrough album Segundo (2000), here’s a very special reissue, remastered from the original tapes, and augmented by a rich booklet recounting the eventful start of Juana’s musical career, and containing numerous notes, anecdotes, original drawings and previously unreleased pictures.
Segundo is the album which started Juana Molina’s international trajectory as a musician, and its making was a wild story: after dropping her highly-successful career as a TV comedian, and signing with a major company who got her to record her debut album, Juana set out to find her own direction in music and started working on a new record (aptly titled Segundo). This journey took four years, and included sessions in Argentina and in several houses where she lived on the US West Coast, the involvement of several possible producers and of four successive record labels, who each had their own idea of what Juana should be doing... Juana remained untamed, forged ahead and, during the course of this sometimes complicated process, developed her own method and her own characteristic sound. She writes:
From the moment “Segundo” took shape, I began to walk a path that I have not yet abandoned. That is why it’s so important to me. I feel that this was the seed of everything I have done ever since. I discovered the flair of composing in real time, the charm of discarding the very idea of demos, the grace of documenting these moments of searching and finding. Everything else became dispensable.

In 2000, Juana finally self-released Segundo in Argentina. The album semi-accidentally made its way to Japan where it very spectacularly took off, and was eventually picked up by the Domino label in 2003. The reception of Segundo set Juana Molina on course for starting to perform around the globe, garnering a large, devoted fan base, and going on to record five more extraordinary studio albums (including the widely-acclaimed Halo in 2017) and a live record (ANRMAL, 2020).
All this and much more is narrated in the lovely booklet, which includes notes by several people who were involved in these events (including Bruce Springsteen producer Ron Aniello) and by early adopters such as KCRW DJ Chris Douridas, Domino Recording’s Laurence Bell (who discovered Segundo by chance, in Will Oldham’s car), and David Byrne who, as soon as he heard the album for the first time, invited Juana to open for him on his 2003 US tour. 
 

南米ものを中心にオブスキュアでエポックなレコードの数々を掘り起こしてきたベルリンの〈Altercat〉からの新着物件！ジャズやファンク・ボッサ・ヴァイブスがそのトレードマークであるシネマティックなフィーリングに包まれながらキスを交わす。アルゼンチンのジャズ史の形成に重要な役割を果たした存在として海外で成功を収めたGato BarbieriやLalo Schifrinと並ぶべき過小評価された伝説的ミュージシャン、Jorge López Ruizが78年に録音した色彩豊かなアルバム『Un Hombre de Buenos Aires』がアナログ・リイシュー。バンドネオンにDino Saluzzi 、パーカッションにDomingo Cura、そしてドラムに彼の生涯の友であるPocho Lapoubleといった国内最高峰のミュージシャンたちを迎えたバレアリック・フィール満点な傑作ラテン・ジャズ盤！

Un Día is a hypnotic record, restless, alive with melodies that surface imperceptibly before burrowing into your brain, never to leave. It’s a record informed by an ever shifting and polymorphous sense of groove, rhythms writhing over and inside each other, played out on wood and cymbal and bombo legüero, and woven from electronic glitches. “I noticed rhythm on my previous records was tacit, there but concealed,” explains Molina. “For this record, I aimed to make what was obvious to me obvious to others, to bring it to the front, like a hidden layer in Photoshop.”

This approach informs more than just Un Día’s rhythms. These songs are bright and playful; for all their seeming complexity, the melodies and harmonies of tracks like ‘¿Quien? (Suite)’ lock into place instantly, the gentle and trancelike conversation between coos and sighs and handclaps and murmurs building to nagging, chiming hooks and refrains. And while she has experimented with Ambient and Electronic music – and while those experiments still indelibly colour her approach – Un Dia is a warmly human record, Molina’s voice played to the foreground, gliding dreamily through the tangle tentative rhythm on the blissful eddy of ‘No Llama’, sighing urgently along with the spectral guitars and keyboards of ‘Los Hongos De Marosa’.

To celebrate the 21st anniversary of Juana Molina’s breakthrough album Segundo (2000), here’s a very special reissue, remastered from the original tapes, and augmented by a rich booklet recounting the eventful start of Juana’s musical career, and containing numerous notes, anecdotes, original drawings and previously unreleased pictures.
Segundo is the album which started Juana Molina’s international trajectory as a musician, and its making was a wild story: after dropping her highly-successful career as a TV comedian, and signing with a major company who got her to record her debut album, Juana set out to find her own direction in music and started working on a new record (aptly titled Segundo). This journey took four years, and included sessions in Argentina and in several houses where she lived on the US West Coast, the involvement of several possible producers and of four successive record labels, who each had their own idea of what Juana should be doing... Juana remained untamed, forged ahead and, during the course of this sometimes complicated process, developed her own method and her own characteristic sound. She writes:
From the moment “Segundo” took shape, I began to walk a path that I have not yet abandoned. That is why it’s so important to me. I feel that this was the seed of everything I have done ever since. I discovered the flair of composing in real time, the charm of discarding the very idea of demos, the grace of documenting these moments of searching and finding. Everything else became dispensable.

In 2000, Juana finally self-released Segundo in Argentina. The album semi-accidentally made its way to Japan where it very spectacularly took off, and was eventually picked up by the Domino label in 2003. The reception of Segundo set Juana Molina on course for starting to perform around the globe, garnering a large, devoted fan base, and going on to record five more extraordinary studio albums (including the widely-acclaimed Halo in 2017) and a live record (ANRMAL, 2020).
All this and much more is narrated in the lovely booklet, which includes notes by several people who were involved in these events (including Bruce Springsteen producer Ron Aniello) and by early adopters such as KCRW DJ Chris Douridas, Domino Recording’s Laurence Bell (who discovered Segundo by chance, in Will Oldham’s car), and David Byrne who, as soon as he heard the album for the first time, invited Juana to open for him on his 2003 US tour. 
 

Rio Arriba is the sophomore album from Chancha Via Circuito, who molds local South American rhythms into global artistry. Rio Arriba bubbles up from the Andes like percussive lava, seething as it is soothing. Layers of drums play out like water and earth battling heat - heat brought by Chancha Via Circuito. Chancha has forged a path from his town outside the urban sprawl of Buenos Aires in the east of Argentina up across the border with Bolivia and into the Northern hemisphere where he's bringing new fans to native drum traditions. In his first release, Rodante, Chancha took cumbia into uncharted territory retrofitting the Latin rhythm for a worldly audience. With Rio Arriba, South American folklore takes the reins and, under Chancha’s steady hand, obscure backwoods rhythms take on a top shelf lifestyle as folklore hits the club. Cumbia made Chancha’s first album Rodante a stand out, Rio Arriba takes his sound primal, rooted in rhythm, but worldwide in scope. With recent remixes of The Ruby Suns (Sub Pop) and Gotan Project (Ya Basta/XL Recordings), Chancha proves his production can cross continents and pollinate. Rio Arriba annihilates the obvious - it's a fresh breeze from the city of good air flooding the urban habitat, sending you dancing upstream.

Originally released in 1976, My Ancestors is one of the greatest releases from Zambia’s Zamrock scene.

The album travels the darker undercurrents of 70s rock and roll, warping and heightening the influences of Jimi, the Stones, the Beatles, Black Sabbath, and James Brown.

27 year old Chrissy “Zebby” Tembo provided drums and vocals while Paul Ngozi, one of the chief architects of the Zambian rock sound, was responsible for the aggressive guitar leads. Created amidst an explosion of creativity and positivity in Zambia in the mid to late 70s, this album is an absolute stunner we’re glad to see in print again!!!

Licensed from the family of Chrissy Zebby Tembo via Now-Again Records.

Following his collaboration with Nicolas Jaar's Clown & Sunset label, Cruz has self-produced and self-recorded this landmark album. ‘Prender el Alma’ is a new strain of Latin American music Cruz calls ‘Andes Step’. Influenced by new digital technology, blended with local influence, Cruz builds his tracks layer by layer, instrument by instrument, drum by drum, exploring local indigenous and Afro-cosmologies in a modern setting. From atmospheric opener ‘Sanacion’, the 10-track album journeys through short, sharp acoustic guitar riffs on ‘Puente Roto’ and the percussive ‘La Mirada’, to the electronic ‘Prender el Alma’. Down-beat ‘Equinoccio’ gets a vocal kick from Ecuadorian singer Huaira, ending with the blissful, lo-fi ‘Cocha Runa’ featuring Tanya Sanchez. ‘Prender el Alma’ ebbs and flows through a range of production of local sounds, feeling like a digital awakening. This digital revolution is spreading through Latin America like wildfire, and nowhere is this more exciting than in the heart of the continent's bustling music scene, where Nicola Cruz is leading the way. Led by forward-thinking young producers and musicians, Ecuador is beginning to experience its own digital folklore revolution. A new crop of producers and musicians are using homeland traditions and rhythms to build on a vibrant history of visual and sonic art, catapulting them into the 21st century. ZZK are at the forefront of this burgeoning music scene. With artists such as Frikstailers, La Yegros, El Remolon and Chancha Via Circuito, they are defining a new and exciting Latin American music culture.

ZZK Records Presents: Luzmila Carpio’s Inti Watana: El Retorno del Sol The iconic voice of Luzmila Carpio rings out from the Andes, spreading messages of indigenous struggle, female empowerment and unceasing love for both the people and planet around us. An undeniable icon of Bolivian Andean culture whose career spans multiple decades, Luzmila has released more than 25 albums (there’s a reason that Rolling Stone described her as”one of the most prolific indigenous singers of South America”), inspiring millions while singing in both her native Aymara-Quechua language and Spanish. Yet Luzmila Carpio isn’t someone who’s content to simply rest on her laurels; she continues to take risks—and push her music into vibrant new soundworlds. On new album Inti Watana: El Retorno del Sol (her first LP in a decade), she’s teamed up with Argentinian producer Leonardo Martinelli (a.k.a. Tremor), a ZZK veteran who’s spent the bulk of his career finding the common ground between Latin American folk rhythms and modern electronics. Building off the momentum created by 2015’s Luzmila Carpio Meets ZZK collection—in which her music was reworked by not only Tremor, but standout electronic artists like Nicola Cruz, Chancha Vía Circuito and El Búho—this new album is meant to stretch across genres, generations and continents, with Luzmila’s sonorous, occasionally birdsong-inspired vocalizations gracefully gliding amongst ambient textures, programmed beats and (of course) a bevy of traditional instrumentation from around the globe. Over the course of the LP, Bolivian charangos and quenas sit comfortably alongside the sounds of harmonium, violin, acoustic and electric guitar, Argentinian bombo leguero and sacha guitar, Armenian duduk and a litany of Asian percussion. Inti Watana: El Retorno del Sol—which will be accompanied by a full length documentary—might not sound like previous Luzmila Carpio releases, but on a spiritual, political and lyrical level, her core values remain unchanged. A native of Bolivia’s Potosí region, she’s long been a beacon for indigenous communities in not just her home country, but throughout Latin America, her voice inspiring joy and pride amongst ancient peoples whose culture and inherent beauty are often overlooked. Her pursuit of music—a field traditionally dominated by men in Andean communities—long ago made her a pillar of women’s empowerment, but Carpio has also been a vocal proponent for social change, using her influence to advocate not just for the rights of women, but for the protection and increased visibility of all indigenous people. Yet it’s the planet itself that Carpio is most passionate about, and she’s devoted much of her new album to conversations with Mother Earth and Father Sun, whom she refers to as Pachamama and Tata Inti. In a time of acute environmental turmoil, it’s more important than ever to find harmony with our surroundings, and Carpio has purposely planned for the unveiling of her new LP to coincide with the June 21 solstice, while the record’s release date falls on September 21—the date of the September equinox. There 's an ancient magic flowing through Carpio’s music, one forged through millennia of ceremony, ritual and communion with nature. On Inti Watana: El Retorno del Sol, that magic feels more vibrant than ever before, whether she’s joyously referencing sacred traditions (“Kacharpayita”), pondering loss and regret (“Requiem para un Ego”), talking to birds (“Ofrenda de los Pájaros”) or paying tribute to the divinity of the natural world (“La Alegría del Gran Venado”). Through it all, Carpio exudes a palpable sense of wonder, her optimism (and reverence for all that exists beyond the everyday) undimmed by even the most seemingly insurmountable challenges. Pachamama and Tata Inti may be the central characters of Inti Watana: El Retorno del Sol, but it 's Carpio herself who emerges as the album 's most inspiring figure.

Canto A Lo Divino is the unique musical expression of the Chilean peasant world - a conversation with the divine nourished by Biblical and other sacred texts. It is communal music, played in packed rooms throughout the night on the 25-string guitarron, its ancient melodies transmitted through the 10-line decima form originating in Spain and found across the Caribbean, South America, and even into the Mississippi Delta. Rooted in the remote Central Valley of Chile at the skirt of the mountains and following the slopes of the major rivers, the Canto tradition has persisted for centuries in the voices of hundreds of men and women who sing of saints, divine images, and angelitos (very young children who have died). The verses are also centered around daily life in the valley - labor and drought, family, animals, and plants. There are countless entonaciones (melodies) that define this region, its communities, and its unique worldview. Mississippi Records is privileged to work with the Museo Campesino En Movimiento and their archive of hundreds of hours of intimate field recordings of the Canto - music rarely, if ever, heard outside of the region.Artwork is provided by another inhabitant of Chile's Central Valley, a baker called Frederico Lohse, who brought divine visions from the Cantos to life, painted on reused flour bags.Canto A Lo Divino celebrates the complexity and solemn, stunning beauty of this nocturnal, communal form of musical devotion.Double vinyl LP comes housed in deluxe gatefold jacket with 8 pages of lyric translations and liner notes about the Canto tradition by researcher Danilo Petrovich.

Long-awaited world premiere LP of the legendary second album by Mono Fontana. Jazz, ambient, field recordings, sound collage, ethnic music, electronic music, post-classical. The complex intertwining of various musical elements and the unfathomable musicality of the band has evolved even further in this album. The collage of various sounds around us, such as people's conversations, the bustle in the distance, the sound of running water from a faucet, the second hand of a clock, and the shutter of a camera, and the flexible Mono piano lead listeners on a supreme sound trip to "somewhere other than here". Although born in Argentina's underground scene, this is a magical piece of music that still fascinates many musicians.

Lucrecia Dalt channels sensory echoes of growing up in Colombia on her new album ¡Ay!, where the sound and syncopation of tropical music encounter adventurous impulse, lush instrumentation, and metaphysical sci-fi meditations in an exclamation of liminal delight. In sound and spirit, ¡Ay! is a heliacal exploration of native place and environmental tuning, where Dalt reverses the spell of temporal containment. Through the spiraling tendencies of time and topography, Lucrecia has arrived where she began. CD edition includes lyrics and an essay by Miguel Prado in Spanish and English.

RSD 2023 release. One of the most obscure records ever released in Venezuela that was originally distributed in tiny quantities as a promo-only album. A magic blend of protest songwriting, with a strong environmentalist statement, and folky pop with psych ingredients -such as the use of sitar sounds- recorded by the collective of artists Una Luz and El Zigui who was once described as the local Bob Dylan. First time reissue.

A new title in the series of full-album reissues that Vampisoul (co-produced in collaboration with Little Butterfly Records) is releasing as a valuable addition to our largely acclaimed compilation “América Invertida”, focusing on the obscure leftfield pop and experimental folk scene from ‘80s Uruguay, making some of these elusive and essential albums available again.

Hugo Jasa aimed to merge the glamour of the 80s (drum machines and Yamaha DX7 and Roland D50 synthesizers command the timbre of the album) with Uruguayan Afro-candombe sound in his songs. A deep bench of national talent, as Eduardo Mateo, Hugo Fattoruso, Jorge Galemire or Mariana Ingold, took part in these sessions.

The album was originally released in 1990 with a single pressing of 300 copies, and then recently rediscovered by new generation of DJs, musicians and hardcore record collectors around the world thanks to the internet, reaching a cult status and becoming a top want.

Hugo Jasa’s “Estados de ánimo” is reissued here for the first time, in its original artwork with an extra OBI and including an insert with liner notes by Uruguayan music writer Andrés Torrón.

El primer LP publicado por el pianista limeño Alfredo Linares bajo su propio nombre rebosa hits de mediados de los 60 y busca poner al día a sus oyentes sobre el desarrollo de los sonidos tropicales en Estados Unidos a los que Linares añadía su propio toque de jazz. “El Pito” contiene guarachas, guaguancós, jazzy descargas y, obviamente, boogaloos irresistibles, incluyendo una versión sobresaliente del himno compuesto por J. Sabater que da título al disco. Primera reedición.

Síntomas de techno : Ondas electrónicas subterráneas desde Perú (1985​-​1991) Symptoms of techno: Underground electronic waves from Peru (1985-1991) This compilation presents for the first time various underground techno groups and projects that emerged in Lima in the mid-1980s. Projects such as Disidentes, Paisaje Electrónico, T de Cobre, Meine Katze Und Ich, El Sueño de Alí, Cuerpos del Deseo, Círculo Interior, Ensamble and Reacción were responsible for introducing styles such as techno-pop, EBM, industrial and minimal synth in Peru. Coinciding with the explosion of punk in Lima and the appearance of the so-called Rock Subterráneo [underground rock], these techno groups shared the same DIY spirit, performing in many punk concerts and even creating their own fanzines, and, above all, opening a space for other types of sonic experiences. Meine Katze Und Ich, El Sueño de Alí and Paisaje Electrónico were also the parallel projects of the members of Narcosis, the iconic punk band, one of the founders of Rock Subterráneo. Disidentes and T de Cobre brought extreme sounds to local electronics: viscerality, mechanical rhythms and the use of Casiotones or synthesizers, which resulted in an atypical sound that, in turn, portrayed a critical time in Peru, and which has made them an unavoidable reference for any historical account of techno and industrial music in Latin America. The title of this compilation is inspired by the name of a concert held in Lima in 1991, considered to be the first techno concert to have taken place in Peru. Even though not all intervening groups were doing techno at that time, they did share the fact that they all used keyboards. Four of them, however (Cuerpos del Deseo, Ensamble, Círculo Interior and Reacción), were in fact affiliated to an electronic sound (techno-pop, EBM). The concert was a sign of the diversification of musical styles in Lima's alternative scene, and in particular of the emergence of a micro scene, for which the concert Síntomas de techno [Symptoms of Techno] represented an important step towards the development of a local culture of electronic music during the 90s. Many of the recordings included here are extracted from demos with limited circulation, practically impossible to find. Other tracks are unpublished pieces which come from the private archives of the artists themselves. The compilation has been made by Luis Alvarado and is part of the Essential Sounds Collection, with which Buh Records is making available a vast archive of avant-garde Peruvian music. This compilation is published in vinyl format in a limited edition of 300 copies, with extensive information and visual documentation. Mastered by Alberto Cendra. Art by René Sánchez. Cover photography by Rogelio Martell. This project was awarded with funding from the Economic Stimuli program of the Peruvian Ministry of Culture.

Let yourself go with the overwhelming musical output of Argentina’s very own Melopea Discos, in a selection of songs that explore fusion with an air of mystery and a side of exquisite sensitivity across 11 carefully curated leftfield synth pop, experimental folk and ambient tracks. “Viento Sur” has been compiled by Argentine DJs and collectors Bárbara Salazar and Alejandro Cohen (dublab) based in Buenos Aires and Los Angeles respectively. Most of the songs are reissued here for the first time and many of them were previously unavailable on vinyl. Includes a 4-page insert with liner notes and photos. Remastered sound.

AYA Records presents: Humazapas’ debut with 'Sara Mama', homage to the land and Kichwa tradition. The concept of “getting back to your roots” rarely has such a literal meaning, or at the same time such an ancestral meaning, as in the case of the Ecuadorian group Humazapas. Usually in the music industry this concept is used when an artist returns to a past sound, going back to that moment of newness, exploration and ingenuity, perhaps. But not Humazapas. These natives of the Kichwa communities of the Ecuadorian Andes, who have been working on this project for a decade, see “getting back to your roots” as a profound connection with their cultures, language, dance, the rituals that connect them to their deities and, of course, music. Humazapas was formed in 2010, when twelve teenagers from the Kichwa communities of Turuku, San Pedro, Jatun Topo and Anrabí decided to salvage the sounds and ritual dances of the Kichwa communes at the foot of the Tayta Imbabura and Mama Cutakachi volcanoes. The group explores an ancestral exercise translated into the fusion of native musics and contemporary structures, proposing the continuity of the art of the ancestral peoples and nationalities of Ecuador in future generations. Like a sound document, it also ties in dance and the audiovisual arts to translate an experience through the journey of a seed that is born from the earth, sprouts from it and whose fruit has fed, and will continue to feed, generations for centuries. After over a decade of research and interest in returning to ancestral knowledge, the group made up of eight musicians and four dancers, weaving in their discourse the cosmovision of community life with people, nature and the world of the deities, finally release their debut record 'Sara Mama', which translates as “Mother Corn” in English. Corn is one of the sacred grains that conceals knowledge in its crop and the magic of the rituals of raising, nurturing and celebrating life, from preparing the earth to harvesting the dry grains. The record has twelve songs about the relationship between humanity, nature and the world of deities. It varies between traditional rhythms like the churay, which prevails in songs like “Tamiajun”, “Pugyu”, “Adiós Mamita”, “Romero Llullu Sisa”, “Pacho” and “Sara Tipi”, and the saruy in such compositions as “Rosa Kitumba” and “Warmi Razu Chakigupi.” Also present are the bambuco, the danzante, the yumbo, the capishka, all rhythms featuring bass drums, the Kichwa harp, guitars, mandolin, violin, cununo, djembe and high, festive voices to match these celebratory rhythms. The lyrics are in Kichwa, to preserve this language. They speak about the rains that herald the corn growing cycle and the preparation of the earth, such as in album opener “Jatun Mama Pacha,” and also in “Pugyu,” about the water that falls to the heart of the land, from which springs emerge, sacred places that keep life alive during times of drought. Other lyrics are more connected with mysticism, such as “Chichu Burru,” whose ritual sound is used to awaken the gods and spirits represented as mountains, volcanoes and lakes in the province of Imbabura. Their permission is needed to begin the corn growing cycle. This debut record is ultimately a thematic work, whose narrative takes in the cycle of life like those roots that grow to form shoots, leaves and fruits, but also the cycle of death as that space in which life springs forth again, thanks to those beings who have departed and who surrender their energies for the community. Sara Mama was composed, produced, arranged and recorded by Jesús Bonilla at ANTA Records in the Kichwa community of Tutuku. It was mixed by Paul Cotacachi and Esteban Farinango (MalaFama), with collaborations by renowned Ecuadorian artists such as Danilo Arroyo and Matías Alvear. The album was mastered by the celebrated Ecuadorian DJ and producer Nicola Cruz.