1
Jorge Lopez Ruiz - Pido perdón por los muertos
2
Jorge Lopez Ruiz - Creo que ayer me asesinaron
3
Jorge Lopez Ruiz - Quiénes tendrán la vida por delante
4
Jorge Lopez Ruiz - Coraje Buenos Aires
Killer unreleased 1973 post-bop, avant jazz album from Argentina, with highly political texts. The missing link in Argentina's jazz history finally sees the light. Coraje Buenos Aires was recorded in 1973, conceived as a follow-up to the historic Bronca Buenos Aires (1971). More explicitly than its predecessor, the texts in Coraje denounced the atrocities of the military junta that ruled the country, and the album was inevitably censored before being released. The tapes, thought to have been burnt and forever lost, were recently discovered in the archive of the late Jorge López Ruiz, allowing us to finally listen to Coraje fifty years after being recorded. Mastered from the original tapes by Pablo López Ruiz. Includes foldout sheet with bilingual notes by author José Tcherkaski and an English translation of the album's song texts.
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Germany
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Germany
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More records from Jorge Lopez Ruiz
1
Jorge Lopez Ruiz - Pablo
2
Jorge Lopez Ruiz - Tema Para Gatofon
3
Jorge Lopez Ruiz - Like Sonny
4
Jorge Lopez Ruiz - Hiroshima
5
Jorge Lopez Ruiz - Berklee Waltz
6
Jorge Lopez Ruiz - Michele
7
Jorge Lopez Ruiz - Siento Algo
8
Jorge Lopez Ruiz - Gizela
9
Jorge Lopez Ruiz - Village Blues
10
Jorge Lopez Ruiz - Summertime
11
Jorge Lopez Ruiz - Trauma
12
Jorge Lopez Ruiz - Vicky
Jorge López Ruiz is one of most versatile of musical talents to emerge from Argentina. As a bass player, composer, performer and arranger he has worked across many genres including jazz, pop as well as stage productions and feature films. BA Jazz was originally released in 1961 on Vik Records as the debut album from Lopez Ruiz featuring a mix of covers and original material. Alongside Ruiz Lopez are Roberto Fernandez on trumpet, Ruben Lopez Furst on piano, Pichi Mazzei on drums and a young musician called Leandro Barbieri on tenor sax. Leandro became better known at Gato Barbieri, who went on to build an international reputation working with Charlie Hayden, Don Cherry, Dollar Brand and Carla Bley and recording for Impulse! Records, Flying Dutchman and A&M Records. The BA Jazz album has been a rarity for years and original pressings attract huge amounts from collectors. It's rarity is matched by the fantastic music contained with its grooves. It's a genuinely important record in the development of jazz in South America. (Tony Higgins)
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Jazz, funk, and bossa vibes kiss each other, all wrapped up in JLR's trademark cinematic feel. In his colourful Un Hombre de Buenos Aires, recorded in 1978, JLR puts the political outcry of his early 70s works aside and focuses on his love for the city of Buenos Aires. Jorge López Ruiz gets far less credit than he deserves. His crucial role in shaping Argentina's jazz history should place him right next to Gato Barbieri and Lalo Schifrin, who found success abroad. It's an honour do dig deeper into his vast discography after having already reissued his masterpiece Viejas Raíces and his historical milestone album Bronca Buenos Aires. As always, Jorge López Ruiz enroled for the recording of Un Hombre de Buenos Aires some of the best musicians in the country. The line-up includes Dino Saluzzi on bandoneon, Domingo Cura on percussion and his lifelong friend Pocho Lapouble on drums.
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Germany
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Germany
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1
Jorge Lopez Ruiz - La Ciudad Vacia
2
Jorge Lopez Ruiz - Relatos
3
Jorge Lopez Ruiz - Amor Buenos Aires
4
Jorge Lopez Ruiz - Bronca Buenos Aires
Essential jazz from Argentina, originally released in 1971. Bronca Buenos Aires is one of the highlights in the career of Jorge López Ruiz, alongside El Grito and the much-acclaimed Viejas Raíces project. The album is jazz poem by López Ruiz to the city he loved, not just for its virtues but also its faults, and the recording was an ambitious project that gathered many of the prominent jazz musicians of Buenos Aires.
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Germany
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1
Jorge López Ruiz - A1 : El Grito (06:12)
2
Jorge López Ruiz - A2 : M.A.B. Amor (07:45)
3
Jorge López Ruiz - B1 : Hasta El Cielo, Sin Nubes, Con Todas Las Estrellas (03:54)
4
Jorge López Ruiz - B2 : Tendré El Mundo (04:10)
5
Jorge López Ruiz - B3 : De Nuevo El Grito (07:45)
Format Notes: 2021 re-issue, 140g vinyl, remastered from the original analogue tapes
Territories: Worldwide no restrictions
Track List:
A1 : El Grito (06:12)
A2 : M.A.B. Amor (07:45)
B1 : Hasta El Cielo, Sin Nubes, Con Todas Las Estrellas (03:54)
B2 : Tendré El Mundo (04:10)
B3 : De Nuevo El Grito (07:45)
Release Notes:
Be With is delighted to present Jorge López Ruiz’s El Grito (Suite Para Orquesta De Jazz), eternal Argentinian magic released on CBS in 1967 that must be one of the most sought-after South American jazz LPs.
Living in Buenos Aires in the 60s, driven by creative impulse and rage Jorge López Ruiz used music as his platform to protest the Argentine military dictatorship: “I could never stand dictatorships, to be told how you have to think, what you have to do. Nor did I endure discrimination”.
A young López Ruiz had appeared on a television panel alongside writer, politician and philosopher Arturo Jauretche, criticising the Onganía dictatorship. Jauretche told López Ruiz “Now say it with music”. This was the deep inhale that lead to El Grito, literally “The Scream”. As López Ruiz later explained “Jauretche urged me that my protests should not remain in words and acquire the consistency of a work… but it was not so much what he told me but how he told me, what prompted me to make the work take shape, first in a live concert and then in a recording”.
As the police and military began resorting to kidnapping, torture and summary executions to quiet dissent, with depressing inevitability the artist community and their work were a particular target of the increasingly brutal regime. El Grito was banned not long after it was released and the majority of original copies were unceremoniously destroyed.
The work of a genius artist living under an opressive dictatorship, erased by the government of the time, this is buried treasure in every sense and it’s been a rare record for over 50 years. But it isn’t just being hard to find that has pushed up the prices of those few original copies that survived, this is a foundational record in the development of jazz in South America.
El Grito (Suite Para Orquesta De Jazz) is a showcase for Jorge López Ruiz’s skills as a composer and arranger as he leads a virtuoso orchestra of the likes of Mario Cosentino (alto sax), Baby López Furst (piano), Pichi Mazzei (drums), Gustavo Bergalli (trumpet), Oscar López Ruiz (guitar), Arturo Schneider (flute) and Jorge López Ruiz himself plays double bass on the fourth and fifth movements.
As the album’s sub-title explains, The album is a Jazz orchestra concept suite. Five movements, to be heard as a whole, that end where they begin.
“When I wrote it there was no history of a cyclical work in jazz. But I didn't notice that, I needed to express something and I did it. At that time they told me I was crazy, that such a thing was very difficult to do. But hey, I like challenges”.
Yet this is not challenging jazz. There are certainly avant garde, free jazz flourishes, but the hard bop characteristics make this a very accessible album: easy to listen to without being easy listening. López Ruiz’s love of film brings a definite cinematic feel.
The title movement opens the album in bombastic style. “El Grito” grabs you by the lapels and refuses to let go. Raw then controlled, it’s by turns stabbing then soothing, with rage weaved in and out of the elegant styles. “M.A.B. = Amor” is our favourite here. With a tense introduction and a patient build, a gentle sax sweeps in to lift everything up to meet the serene piano and soft drums. Elegantly paced, it moves back and forth between deep contemplation and a more urgent call and response between strings and horns. A near-eight-minute, slow motion marvel.
The second side eases in with the beautifully-titled “Hasta El Cielo, Sin Nubes, Con Todas Las Estrellas” (“Up To The Sky, No Clouds, With All The Stars”) a relatively brief mid-tempo piece featuring López Ruiz’s insistent bass notes high in the mix, and again blending the sublime with the emotive with its wild horns and tight rhythm section.
It’s followed by “Tendré El Mundo” (“I Will Have The World”) which also leads with hypnotic bass, but this time swifter, driven by crashing drums, rapid horn conversations and effortlessly cool piano flourishes. Rounding out the suite, “De Nuevo El Grito” (something like “The Next Scream” or “The Scream Renewed”) is a stylish closer. Whilst López Ruiz’s bass shifts the track along, the horns and piano are more restrained, yet no less stunning.
This Be With edition of El Grito sounds sensational, if we do say so ourselves. Working with audio from the original analogue tapes, the vinyl mastering chops of Simon Francis are on full show here in what he considers to be some of his best ever work for Be With. Pete Norman’s cutting skills have made sure nothing is lost. The tortured artwork has been restored here at Be With HQ as the finishing touch to helping this revered work find a rightful place in every protest art collection.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Territories: Worldwide no restrictions
Track List:
A1 : El Grito (06:12)
A2 : M.A.B. Amor (07:45)
B1 : Hasta El Cielo, Sin Nubes, Con Todas Las Estrellas (03:54)
B2 : Tendré El Mundo (04:10)
B3 : De Nuevo El Grito (07:45)
Release Notes:
Be With is delighted to present Jorge López Ruiz’s El Grito (Suite Para Orquesta De Jazz), eternal Argentinian magic released on CBS in 1967 that must be one of the most sought-after South American jazz LPs.
Living in Buenos Aires in the 60s, driven by creative impulse and rage Jorge López Ruiz used music as his platform to protest the Argentine military dictatorship: “I could never stand dictatorships, to be told how you have to think, what you have to do. Nor did I endure discrimination”.
A young López Ruiz had appeared on a television panel alongside writer, politician and philosopher Arturo Jauretche, criticising the Onganía dictatorship. Jauretche told López Ruiz “Now say it with music”. This was the deep inhale that lead to El Grito, literally “The Scream”. As López Ruiz later explained “Jauretche urged me that my protests should not remain in words and acquire the consistency of a work… but it was not so much what he told me but how he told me, what prompted me to make the work take shape, first in a live concert and then in a recording”.
As the police and military began resorting to kidnapping, torture and summary executions to quiet dissent, with depressing inevitability the artist community and their work were a particular target of the increasingly brutal regime. El Grito was banned not long after it was released and the majority of original copies were unceremoniously destroyed.
The work of a genius artist living under an opressive dictatorship, erased by the government of the time, this is buried treasure in every sense and it’s been a rare record for over 50 years. But it isn’t just being hard to find that has pushed up the prices of those few original copies that survived, this is a foundational record in the development of jazz in South America.
El Grito (Suite Para Orquesta De Jazz) is a showcase for Jorge López Ruiz’s skills as a composer and arranger as he leads a virtuoso orchestra of the likes of Mario Cosentino (alto sax), Baby López Furst (piano), Pichi Mazzei (drums), Gustavo Bergalli (trumpet), Oscar López Ruiz (guitar), Arturo Schneider (flute) and Jorge López Ruiz himself plays double bass on the fourth and fifth movements.
As the album’s sub-title explains, The album is a Jazz orchestra concept suite. Five movements, to be heard as a whole, that end where they begin.
“When I wrote it there was no history of a cyclical work in jazz. But I didn't notice that, I needed to express something and I did it. At that time they told me I was crazy, that such a thing was very difficult to do. But hey, I like challenges”.
Yet this is not challenging jazz. There are certainly avant garde, free jazz flourishes, but the hard bop characteristics make this a very accessible album: easy to listen to without being easy listening. López Ruiz’s love of film brings a definite cinematic feel.
The title movement opens the album in bombastic style. “El Grito” grabs you by the lapels and refuses to let go. Raw then controlled, it’s by turns stabbing then soothing, with rage weaved in and out of the elegant styles. “M.A.B. = Amor” is our favourite here. With a tense introduction and a patient build, a gentle sax sweeps in to lift everything up to meet the serene piano and soft drums. Elegantly paced, it moves back and forth between deep contemplation and a more urgent call and response between strings and horns. A near-eight-minute, slow motion marvel.
The second side eases in with the beautifully-titled “Hasta El Cielo, Sin Nubes, Con Todas Las Estrellas” (“Up To The Sky, No Clouds, With All The Stars”) a relatively brief mid-tempo piece featuring López Ruiz’s insistent bass notes high in the mix, and again blending the sublime with the emotive with its wild horns and tight rhythm section.
It’s followed by “Tendré El Mundo” (“I Will Have The World”) which also leads with hypnotic bass, but this time swifter, driven by crashing drums, rapid horn conversations and effortlessly cool piano flourishes. Rounding out the suite, “De Nuevo El Grito” (something like “The Next Scream” or “The Scream Renewed”) is a stylish closer. Whilst López Ruiz’s bass shifts the track along, the horns and piano are more restrained, yet no less stunning.
This Be With edition of El Grito sounds sensational, if we do say so ourselves. Working with audio from the original analogue tapes, the vinyl mastering chops of Simon Francis are on full show here in what he considers to be some of his best ever work for Be With. Pete Norman’s cutting skills have made sure nothing is lost. The tortured artwork has been restored here at Be With HQ as the finishing touch to helping this revered work find a rightful place in every protest art collection.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
More records from Altercat
1
Mauricio Fleury - Kadiköy
2
Mauricio Fleury - Banhado
3
Mauricio Fleury - Revoada
4
Mauricio Fleury - Tanto Faz (Riviera Bar)
5
Mauricio Fleury - Jima
6
Mauricio Fleury - Briluz
Delve into the quirky and psych-tinged world of Brazilian pianist, composer and multi-instrumentalist Mauricio Fleury. With more than a hint to Brazilian jazz greats like Azymuth, Deodato and CTI Records in their prime, Revoada is a groove based jazz-framed record, primed with other transitory musical vignettes which touches on Turkish psych and soul-jazz born out of the 70's film soundtrack genre. Revoada is a 6 track album and storyboard of Mauricio's migration and travels through Brazil's geographical oddities , its rural and urban enclaves. Recorded in Brazil, it's the result of numerous treks through funky flea markets, soaking up old vinyls and vintage cultural artefacts combined with a new life led in Berlin since 2022. Mauricio, as well as a founding member of Bixiga 70 (google Brazilian Afrobeat pioneers), a band he fronted for over 12 years, is also an in-demand collaborator and musician who as a pianist, guitarist and even percussionist has shared stages and studios with the likes of Brazilian greats including Gal Costa, Emicida, Lucas Santtana, João Donato and Liniker. In 2007 he had a life-changing experience meeting Tony Allen, at the Red Bull Music Academy. After hanging out, chatting music and life, Tony insisted to Mauricio to participate with Tony in a jam with blacktronica and soulful house music pioneers Ron Trent, Theo Parrish and Steve Spacek. Mauricio sums it up, "From that moment on, I was never afraid to collaborate musically with anyone, no matter who's playing. It also brought me to researching the connection between Brazilian music and Afrobeat which is something that still means the world to me". Another unforgettable session Mauricio undertook happened alongside João Donato and Marcos Valle, playing Donato's classic album Quem É Quem, live, a record seen as a blueprint for second generation bossa nova. Mauricio has worked with Gal Costa on two albums, Estratosférica Ao Vivo and her last studio album A Pele do Futuro. Fabio Sá and Vitor Cabral (bassist and drummer on Revoada) were playing with Gal at her last concerts, including in Berlin in 2022 before she passed. In contemporary music, Mauricio was part of Toy Selectah and Mexican Institute of Sound's Compass project. He's worked with Colombia's Los Pirañas and has even recorded a mysterious and unreleased album with Quantic. Revoada shows signature traces of Thelonious Monk, Ramsey Lewis' swinging soul sound, Deodato's drama, and styles from further afield, spreading into Turkish psych and Ethiopian jazz, when the time is right. Each track, led always by Mauricio playing multiple instruments with a choice selection of guests and core members on bass and drums, highlights Fleury's meticulous approach to finding the right timbre, utilising his arsenal of organs and effects pedals to set the mood, taking the listener to a specific place or memory that has shaped him. A vinyl DJ for over 25 years and someone who is immersed in digger and collector's culture, Mauricio places a lot of emphasis on the importance of the complimentary relationship between two artforms (DJ and composer/producer) in the sense of having a broad repertoire of musical knowledge, references and perhaps predictably, being a Brazilian, understanding the connection between rhythms. This is an impressive debut album that struts itself right into the runout groove.
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DE - 22113 Hamburg
Germany
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Germany
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1
Fernando Gelbard - Hola Didi
2
Fernando Gelbard - El señor mayor
3
Fernando Gelbard - Mojo uno
4
Fernando Gelbard - Alevacolariea
5
Fernando Gelbard - Sombrero de flores
6
Fernando Gelbard - Chau, Ambrosio
From the introspective "Mojo uno", Gelbard's solo piece on Moog, to the wild "Alevacolariea", featuring the prolific Uruguayan Rubén Rada, Gelbard's solo album offers no chance to remain indifferent. Fernando Gelbard occupies a singular place in Argentine jazz history, remembered for his bold embrace of new sounds and his refusal to let boundaries define him. A pianist, flautist, and producer, he was among the first in Argentina to explore the possibilities of electronic instruments in jazz, creating a body of work that feels both rooted in tradition and ahead of its time. Didi, recorded in 1974, epitomises this vision. Entirely performed on electronic keyboards such as the Moog synthesizer and Fender Rhodes, it fused bebop harmonies with bossa nova -Gelbard has a deep love for Brazilian music-, Latin grooves, and Afro-American rhythmic textures. The result was a kaleidoscopic soundscape that challenged conventions and opened doors for new directions in South American jazz. Tracks like "Alevacolariea", featuring the Uruguayan Rubén Rada, with its rich percussion and chanting, reveal his interest in rhythm as a unifying force, while pieces such as "Chau, Ambrosio" show his skill at blending layered studio experimentation with a straight-ahead jazz sensibility.
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Germany
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Germany
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1
Ara Tokatlian, Enrique Villegas & Guille - Camino a Samarkanda
2
Ara Tokatlian, Enrique Villegas & Guille - A La Sombra De Los Dorados Budas
3
Ara Tokatlian, Enrique Villegas & Guille - En La Ola De Tus Ojos
4
Ara Tokatlian, Enrique Villegas & Guille - Maritimaria
5
Ara Tokatlian, Enrique Villegas & Guille - Danara
6
Ara Tokatlian, Enrique Villegas & Guille - Logré Mi Ser
This top-notch spiritual jazz album from Argentina will leave fans of Pharoah Sanders and John Coltrane astonished. Recorded in 1975 and still surprisingly off the radar, this is one of the deepest jazz albums from South America. Inspiración is the meeting of two generations united by music: Ara Tokatlian and Guillermo Bordarampé, members of the influential 70s rock band Arco Iris (which Tokatlian cofounded with the now Oscar award-winning composer Gustavo Santaolalla), join forces with Enrique "Mono" Villegas, an admired jazz pianist who had been active since the 1930s. Meditative, soothing and serene, Inspiración is music your soul yearns for. Official reissue with sound off the master tapes, including a reproduction of the original 16-page booklet. With the blessing and support from Ara Tokatlian and Guillermo Bordarampe.
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Jazz, funk, and bossa vibes kiss each other, all wrapped up in JLR's trademark cinematic feel. In his colourful Un Hombre de Buenos Aires, recorded in 1978, JLR puts the political outcry of his early 70s works aside and focuses on his love for the city of Buenos Aires. Jorge López Ruiz gets far less credit than he deserves. His crucial role in shaping Argentina's jazz history should place him right next to Gato Barbieri and Lalo Schifrin, who found success abroad. It's an honour do dig deeper into his vast discography after having already reissued his masterpiece Viejas Raíces and his historical milestone album Bronca Buenos Aires. As always, Jorge López Ruiz enroled for the recording of Un Hombre de Buenos Aires some of the best musicians in the country. The line-up includes Dino Saluzzi on bandoneon, Domingo Cura on percussion and his lifelong friend Pocho Lapouble on drums.
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DE - 22113 Hamburg
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1
Horacio "Chivo" Borraro - Lineas Torcidas
2
Horacio "Chivo" Borraro - Blues Para Un Cosmonauta
3
Horacio "Chivo" Borraro - Cancion De Cuna Para Un Bebe Del Año 2000
4
Horacio "Chivo" Borraro - La Invasion De Los Monjes
5
Horacio "Chivo" Borraro - Mi Amigo Tarzan
Fans of Coltrane will certainly dig this historical 1970s spiritual jazz album from Argentina which left an everlasting imprint in the local jazz scene. From the eerie "Blues para un cosmonauta" —which could easily fit in the Twin Peaks soundtrack—, to the majestic "Líneas Torcidas" or the mid-tempo groove of "Mi amigo Tarzán", new landscapes in jazz are explored without hiding, at moments, the musicians' bebop pedigree. Venturing into unchartered dimensions, the album breaks with traditionalism and combines jazz and new electronic instruments into a contemporary concept that is both cosmic and sensual, a sound where timbre and space play a crucial role. Here, no track sounds like the other. The charismatic, multifaceted saxophone player Horacio "Chivo" Borraro is joined here most notably by Fernando Gelbard —who pioneered electronic keyboards and analog synths in Argentina, playing here Fender Rhodes and Minimoog— and Brazilian musician Stenio Mendes —who plays the 12-string craviola and contributes two tracks. Jorge González on bass and Néstor Astarita on drums —both part of Gato Barbieri's rhythm section in the early 60s— and Chino Rossi —responsible for much of the unusual percussion and special effects that give the album its unprejudiced aura— complete the line-up of Blues para un Cosmonauta.
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1
Naná Vasconcelos - Africadeus
2
Naná Vasconcelos - Aboios
3
Naná Vasconcelos - Seleção de Folclore
Spiritual, intimate and revolutionary, yet firmly rooted in Brazil's folklore. Africadeus was the breakthrough album of the mighty Naná Vasconcelos, in which he discovered the berimbau to the world and took the instrument to a universal level, abstracting it from its original context of capoeira. Having played in the shadows for other artists such as Milton Nascimento, Gato Barbieri or Som Imaginario, Naná is here finally in the spotlight. Recorded in 1973 in France for Pierre Barouh's Saravah label, this is the album that definitely imprinted Naná's name in the international scene, on his track to becoming one of the best percussionists of all times. Immensely proud to offer a quality reissue of both his early 70s albums for the French label Saravah. Africadeus comes in its original gatefold cover
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1
Naná Vasconcelos, Nelson Angelo & Novell - No Sul Do Polo Norte
2
Naná Vasconcelos, Nelson Angelo & Novell - No Norte Do Polo Sul
3
Naná Vasconcelos, Nelson Angelo & Novell - Aranda
4
Naná Vasconcelos, Nelson Angelo & Novell - Toshiro
5
Naná Vasconcelos, Nelson Angelo & Novell - Baiao Do Acordar
6
Naná Vasconcelos, Nelson Angelo & Novell - Garimpo
7
Naná Vasconcelos, Nelson Angelo & Novell - Tiro Crusado
8
Naná Vasconcelos, Nelson Angelo & Novell - Pinote
Cult album of Brazilian music finally reissued || Official reissue of this real tour de force of Brazilian creativity, where the mighty Naná Vasconcelos is joined by his friends Nelson Angelo and Novelli (both members of the legendary Clube da Esquina) to create one of the greatest Brazilian albums ever recorded outside of Brazil. The three musicians grasp here for the kind of musical freedom that could then only be achieved outside of their country. A boundary-pushing experimentation that makes your soul flow and is to be enjoyed at large. Recorded in 1975 and released in Pierre Barouh's label Saravah. Artwork by the great Belgian artist Jean-Michel Folon.
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1
Matias Pizarro - Pelo De Rata
2
Matias Pizarro - Anamlor
3
Matias Pizarro - Perro Que Ladra No Muerde
4
Matias Pizarro - Una Flor Tras La Montaña
5
Matias Pizarro - Secuencia
6
Matias Pizarro - Nordeste
7
Matias Pizarro - Do y Sol
"Hey, there's this new guy around that plays like Herbie Hancock!!". When Chilean pianist Matías Pizarro arrived in Argentina fleeing Pinochet's dictatorship, word spread like wildfire in the local jazz scene.In the two short years that Pizarro spent in Buenos Aires, he became one third of the Viejas Raíces project alongside local jazz heroes Jorge López Ruiz and Pocho Lapouble, recorded with famed Italian trumpeter Enrico Rava and released his own solo album, Pelo de Rata ("Rat's hair"). Pizarro was no beginner though. Whilst in Chile he had already participated in several music projects and worked as a producer and arranger for the IRT label, and was connected to influential bands such as Los Jaivas and Blops. He had also studied in the Berklee School of Music where he not only met and lived with the cream of an emerging new wave of musicians, but he also had the chance to attend live performances of giants such as Miles Davis or Thelonious Monk. In the recording of "Pelo de Rata" Pizarro is joined by fellow Chilean Alejandro Rivera (Sacros, Grupo Sol) on quena and charango, Swedish bassist Bo Gathu on bass, Uruguayan saxophonist Finito Bingert and an impressive percussion team featuring Pocho Lapouble, "El Zurdo" Roizner and the mighty Domingo Cura. The album draws from the US jazz fusion currents of the time (think Chick Corea and Miles Davies), adding an undeniable Latin American character, all projected through Pizarro's own musical prism which displays his acute sense of harmony and a musical intimacy that reminds of those sincere, dreamy moments in Viejas Raíces. The 8-page booklet that accompanies the vinyl edition will give you a deeper insight into the story of Matías Pizarro, with previously unseen pictures and liner notes by Argentinean journalist Humphrey Hinzillo (La Nación , Rolling Stone Argentina).
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1
Jorge Lopez Ruiz - La Ciudad Vacia
2
Jorge Lopez Ruiz - Relatos
3
Jorge Lopez Ruiz - Amor Buenos Aires
4
Jorge Lopez Ruiz - Bronca Buenos Aires
Essential jazz from Argentina, originally released in 1971. Bronca Buenos Aires is one of the highlights in the career of Jorge López Ruiz, alongside El Grito and the much-acclaimed Viejas Raíces project. The album is jazz poem by López Ruiz to the city he loved, not just for its virtues but also its faults, and the recording was an ambitious project that gathered many of the prominent jazz musicians of Buenos Aires.
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1
Luis Vecchio - 27 Fqp
2
Luis Vecchio - Arima
3
Luis Vecchio - Ucanca
4
Luis Vecchio - Canto a Ivnur
After a few years in London, where he worked with Archie Shepp and recorded a sought-after album for the famed library music label De Wolfe, Argentinian pianist Luis Vecchio settled in the island of Gran Canaria following advice from a superior entity from outer space. Vecchio subsequently opened the first jazz school in the Canary Islands, effectively planting the seed of jazz in the archipelago. In Contactos, recorded in 1978 in the Mayra studio owned by Ramiro González, Vecchio gives a free jazz account of his contacts with Adionesis, who delivers his ominous message upon the human race on side B of the album. Fellow Argentinean Fernando Bermúdez on percussion and Japanese bass player Yoichi Yahiro complete the line-up of Contactos.
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1
Maria de Fatima - Toda Menina Bahiana
2
Maria de Fatima - Você (Sorrindo e entregando)
3
Maria de Fatima - Movimento dos Barcos
4
Maria de Fatima - Coisas Estranhas
5
Maria de Fatima - Bahia com H
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Maria de Fatima - O Tabuleiro da Bahiana
7
Maria de Fatima - Candombe Brasileiro - Montevidean
8
Maria de Fatima - São João Changô Menino
9
Maria de Fatima - Três Pontas
Ethereal, sensual, subtle. Maria de Fátima is that new favourite singer you think you just discovered, but had actually always been there. This Brazilian muse from Tijuca (Rio de Janeiro) has worked and recorded with artists such as Milton Nascimento, Gilberto Gil, Arthur Verocai, Airto Moreira & Flora Purim, Chico Buarque and Lincoln Olivetti amongst many others. We're immensely proud to bring you a deluxe reissue of her only solo album Bahia com H. Recorded in 1981 in Uruguay where Maria had settled with her then husband and synthesizer wizard Hugo Fattoruso (OPA), who also takes on production duties. The album combines Maria's own compositions with her unique takes on some Brazilian classics by Ary Barroso, Denis Brean and Gilberto Gil amongst others, compositions which gain a new significance with Maria's ethereal interpretation and the blended elements of Candombe, in part provided by the all-star line-up of Uruguayan musicians recruited for the recording. First reissue on vinyl format, preserving the original artwork in its gatefold sleeve, with sound sourcedfrom the original analogue tapes, and with a 12-page booklet with photos from Maria's private archive and liner notes by the mighty producer, journalist, Grammy voting member and living jazz encyclopedia Arnaldo de Souteiro.
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You know you're into something good when you open the album you just bought and find a lyrics sheet, then play it and quickly realise the record is actually instrumental. The unruliness that defined Costa Blanca's short-lived career resulted in such nonsensical contradictions, and helps understand why one of Spains best jazz-rock bands of the 70s never had a proper breakthrough. Hailing from sun-bathed Alicante in the Spanish levantine coast, Costa Blanca shared the stage with some of the country's best-known rock acts of the time, including Triana, Guadalquivir, Bloque or Coz, often receiving praise from fellow musicians and music critics alike. The band's sole LP takes the listener through a typical summer in the Mediterranean, from its blissful afternoons by the sea to galloping thunderstorms, and is reminiscent of some kind of Weather Report with a Mediterranean flair. Formed by four musicians of diverse musical backgrounds, the band members proved to be exceptionally skilled despite their limited experience, remarkably drummer Pedro Barceló who, aged just 17 at the time of recording, delivered a trepidant 9-minute solo and grew to become one of the most in-demand session musicians in Spain. Napi Carratalá's guitar makes sure his inclination for psychedelic rock doesn't go amiss and the undisturbable Chiki Navarret provides the funky bass lines that hold the band together, while the French saxophonist Alain Fabrizio blows the jazz influence. Partly because of the band's location away from the music industry centers of Barcelona and Madrid, and mainly because of the carelessness that surrounded the band's activities, the album failed to attract any commercial success and fell into oblivion, becoming today a highly collectable cult album and the only available memory anchor for those who saw them live. Done in full cooperation with all surviving band members, we're proud to bring you this reissue, with an 8-page booklet including bilingual (Spanish / English) liner notes and graphic memorabilia from the musicians' own archives. "We were always stoned" seems to be the common memory of all Costa Blanca members. And that's probably the right way to listen to this album today -- by the sea, please.
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1
Zeca Do Trombone - Rota-Mar
2
Zeca Do Trombone - Gávea Um Beijo De Cinema
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Zeca Do Trombone - Exílio De Coração
4
Zeca Do Trombone - Em Busca De Mim
5
Zeca Do Trombone - Boa Nova
6
Zeca Do Trombone - Manteiga De Garrafa
7
Zeca Do Trombone - Ave Anne (feat. Azymuth)
8
Zeca Do Trombone - Papo Coração
9
Zeca Do Trombone - Alô Brasil
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Zeca Do Trombone - Navegante Só
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Zeca Do Trombone - Te Queria
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Zeca Do Trombone - Grito da Pele
13
Zeca Do Trombone - Pastores da Noite
14
Zeca Do Trombone - Tema Do Brisa (feat. Azymuth)
Mainly known to DJs for the funk groover "Te Queria", Rota-Mar is the first solo album by the charismatic Zéca do Trombone. During a vertiginous career which started in the late 60s, Zéca was a permanent member of Wilson Simonal's band, toured with Luiz Eça's Sagrada Família (alongside Joyce, Naná Vasconcelos, Nelson Angelo and others), recorded the seminal Brazilian funk "Coluna do Meio" for his joint effort with Roberto Sax, and played and recorded for some of the big names of Brazilian music such as Tim Maia or Martinho da Vila. Particularly for samba artists such as Alcione, Leci Brandão or Moreira da Silva, Zéca do Trombone was the trombonist of choice. Rota-Mar displays the work of an established musician who has nothing to prove. Impregnated with Zéca's characteristic voice, the songs draw inspiration from the sea, love and bohemian life, and let us all dream of what life in Rio the Janeiro was during that time. "Te Queria", penned by Zéca's childhood friend Elízio de Búzios (known for his highly collectable funk/boogie single "Tamanqueiro") is the obvious highlight, although we believe the real beauty of the album lies in the relaxed sea-side groove and MPB in the rest of the songs, including Zéca's superb take on Martinho da Vila's "Manteiga de Garrafa". As bonus tracks to this reissue, we include both sides from Zéca's rare 1977 single, featuring the allmighty trio Azymuth. Comes with an 8-page booklet with bilingual (Portuguese / English) liner notes by Brazilian journalist Marcelo Pinheiro and previously unpublished pictures from the artist's archive.
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1
Viejas Raíces ( Feat. Jorge Lopez Ruiz ) - O'Placar (feat. Jorge López Ruiz)
2
Viejas Raíces ( Feat. Jorge Lopez Ruiz ) - Para Nosotros Solamente (feat. Jorge López Ruiz)
3
Viejas Raíces ( Feat. Jorge Lopez Ruiz ) - Balewada (feat. Jorge López Ruiz)
4
Viejas Raíces ( Feat. Jorge Lopez Ruiz ) - Los Berugos Wor (feat. Jorge López Ruiz)
5
Viejas Raíces ( Feat. Jorge Lopez Ruiz ) - La Hora De La Sed Maldita (feat. Jorge López Ruiz)
6
Viejas Raíces ( Feat. Jorge Lopez Ruiz ) - El Viaje De Dumpty (feat. Jorge López Ruiz)
7
Viejas Raíces ( Feat. Jorge Lopez Ruiz ) - Eterna Presencia (feat. Jorge López Ruiz)
8
Viejas Raíces ( Feat. Jorge Lopez Ruiz ) - Mira Tú (feat. Jorge López Ruiz)
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. Fourty-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.
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1
Jorge Navarro - Black Dog
2
Jorge Navarro - Vamos Quedando Pocos
3
Jorge Navarro - Lucky Southern
4
Jorge Navarro - Repartamos El Funky
5
Jorge Navarro - Funk Yourself
6
Jorge Navarro - Great Gorge
7
Jorge Navarro - Después de la Polenta
It's safe to say that starting a jazz album with a version of Led Zeppelin's "Black Dog" was quite a daring deed, to say the least. In Argentina — back in 1977. And yet this is something a musician with the career of Jorge Navarro could afford. Navarro belongs to a generation of musicians who shaped the history of jazz music in Argentina, starting already in the mid-50s alongside other renowned jazzmen such as Lalo Schifrin, Leandro "Gato" Barbieri, "Baby" López Furst or Jorge López Ruiz. In Argentina, "con polenta" is an expression used to describe something with great energy or strength — which perfectly defines the mood for the album. As many other musicians, most notably Schifrin and Barbieri (who enjoyed a huge international success and would only sporadically return to Argentina), Navarro had just left the country and spent several years in the USA, returning to his homeland full of energy and new ideas, which translated into his debut solo album where navarro performs on Hammond, Fender Rhodes and Steinway pianos. A rocking blend of Jazz and Funk, the album unexpectedly kicks off with a groovy cover of Led Zeppelin's "Black Dog" and includes equally wicked takes on compositions by Eumir Deodato, Keith Jarrett and Joe Farrell, as well as two self-penned originals and a funky number by Roberto Valencia, who's in charge of percussion in the album.
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NO DISCOUNTS - NO SALES TO BENELUX
A landmark in Detroit deep house, Forevernevermore is Moodymann’s second full-length album on Peacefrog Records. This 2000 release sees Kenny Dixon Jr. at his most soulful and experimental, blending dusty samples, live instrumentation, and hypnotic grooves into a deeply personal sonic collage. Drawing from his earlier KDJ releases, the album reimagines rare cuts into a cohesive, emotionally rich journey through love, loss, and the spirit of the Motor City. Essential for fans of deep, narrative-driven house music.
Smokey 2LP with limited edition Obi Stip to celebrate the labels 35 year anniversary
TRACKLIST:
1.Meanwhile Back At Home
2.Wednesday Night People
3.The Set Up
4.Don't You Want My Love
5.(Logo)
6.Your Sweet Lovin
7.The Thief That Stole My Sad Days (Ya Blessin Me)
8.Forevernevermore
9.Tribute
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A landmark in Detroit deep house, Forevernevermore is Moodymann’s second full-length album on Peacefrog Records. This 2000 release sees Kenny Dixon Jr. at his most soulful and experimental, blending dusty samples, live instrumentation, and hypnotic grooves into a deeply personal sonic collage. Drawing from his earlier KDJ releases, the album reimagines rare cuts into a cohesive, emotionally rich journey through love, loss, and the spirit of the Motor City. Essential for fans of deep, narrative-driven house music.
Smokey 2LP with limited edition Obi Stip to celebrate the labels 35 year anniversary
TRACKLIST:
1.Meanwhile Back At Home
2.Wednesday Night People
3.The Set Up
4.Don't You Want My Love
5.(Logo)
6.Your Sweet Lovin
7.The Thief That Stole My Sad Days (Ya Blessin Me)
8.Forevernevermore
9.Tribute
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NO DISCOUNTS - NO SALES TO BENELUX
TRACKLIST:
A1. Entrance To The Garden
A2. People
A3. Backagainforthefirsttime?
B1. LiveinLA 1998
B2. P.B.C.
B3. Shine
C1. Yesterdays Party Watta Bout It
C2. Silence In The Secret Garden
D1. On My Way Home
D2. Sweet Yesterday
LP FORMAT DETAILS: 2LP Smokey colour w/ limited addition with Obi Strip
Silence In The Secret Garden is an intensly personal and spiritual journey into the heart & soul of black music.
From the reckless dark minimalism of the title track Silence In The Secret Garden to the irresistible funk of Yesterday’s Party… this classicalbum has continued to surprise and inspire.
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TRACKLIST:
A1. Entrance To The Garden
A2. People
A3. Backagainforthefirsttime?
B1. LiveinLA 1998
B2. P.B.C.
B3. Shine
C1. Yesterdays Party Watta Bout It
C2. Silence In The Secret Garden
D1. On My Way Home
D2. Sweet Yesterday
LP FORMAT DETAILS: 2LP Smokey colour w/ limited addition with Obi Strip
Silence In The Secret Garden is an intensly personal and spiritual journey into the heart & soul of black music.
From the reckless dark minimalism of the title track Silence In The Secret Garden to the irresistible funk of Yesterday’s Party… this classicalbum has continued to surprise and inspire.
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Label:We Release Jazz
Cat-No:WRJ001-REG
Release-Date:19.10.2018
Genre:Electronic, Electronica
Configuration:LP Excl
Label:We Release Jazz
Cat-No:WRJ001-REG
Release-Date:19.10.2018
Genre:Electronic, Electronica
Configuration:LP Excl
1
Ryo Fukui - It Could Happen To You
2
Ryo Fukui - I Want To Talk About You
3
Ryo Fukui - Early Summer
4
Ryo Fukui - Willow Weep For Me
5
Ryo Fukui - Autumn Leaves
6
Ryo Fukui - Scenery
The Standard Edition - Territory - NO Sales to Japan
Ryo Fukui's 1976 highly sought-after jazz masterpiece SCENERY-
LP Edition: Mastered at half speed, 140g vinyl, Sticker
We Release Jazz (WRWTFWW Records' new sister-label) is proud to present its first release, the official reissue of Ryo Fukui's highly sought-after masterpiece Scenery (1976), sourced from the original masters and available on limited edition 180g vinyl mastered at half speed for audiophile sound and on digipack CD.
Unquestionably one of the most important Japanese jazz albums ever recorded, Scenery reveals Ryo Fukui as a miraculously brilliant self-taught pianist fusing modal, bop, and cool jazz influences for a very personal, dexterous and game-changing take on classic standards made famous by Bing Crosby and John Coltrane among others. From "It Could Happen To You" and its serene and calm intro which magically flows into a jubilant and upbeat piece, to the out-of-this-world piano solo of "Early Summer", or the incredible teamwork of "Autumn Leaves" where Fukui leads Satoshi Denpo (bass) and Yoshinori Fukui (drums) into groove heaven, every single note on the album oozes precision, confidence and flair and every single section slides seamlessly into one another, creating a supreme and elegant blend of jazz. Often compared to McCoy Tyner or Bill Evans, Ryo Fukui was a genius in his own right, a true master of his craft whose perfectionism gave birth to some of the greatest music ever recorded. Scenery is his magnum opus and an absolute must-have.
The Hokkaido wizard-pianist followed Scenery with the soulful gem Mellow Dream (also available on We Release Jazz) in 1977. He then focused on improving his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui) and releasing 2 live albums. Ryo Fukui sadly passed away in March 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come.
Tracklisting Vinyl LP
A1 It Could Happen To You
A2 I Want To Talk About You
A3 Early Summer
B1 Willow Weep For Me
B2 Autumn Leaves
B3 Scenery
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Ryo Fukui's 1976 highly sought-after jazz masterpiece SCENERY-
LP Edition: Mastered at half speed, 140g vinyl, Sticker
We Release Jazz (WRWTFWW Records' new sister-label) is proud to present its first release, the official reissue of Ryo Fukui's highly sought-after masterpiece Scenery (1976), sourced from the original masters and available on limited edition 180g vinyl mastered at half speed for audiophile sound and on digipack CD.
Unquestionably one of the most important Japanese jazz albums ever recorded, Scenery reveals Ryo Fukui as a miraculously brilliant self-taught pianist fusing modal, bop, and cool jazz influences for a very personal, dexterous and game-changing take on classic standards made famous by Bing Crosby and John Coltrane among others. From "It Could Happen To You" and its serene and calm intro which magically flows into a jubilant and upbeat piece, to the out-of-this-world piano solo of "Early Summer", or the incredible teamwork of "Autumn Leaves" where Fukui leads Satoshi Denpo (bass) and Yoshinori Fukui (drums) into groove heaven, every single note on the album oozes precision, confidence and flair and every single section slides seamlessly into one another, creating a supreme and elegant blend of jazz. Often compared to McCoy Tyner or Bill Evans, Ryo Fukui was a genius in his own right, a true master of his craft whose perfectionism gave birth to some of the greatest music ever recorded. Scenery is his magnum opus and an absolute must-have.
The Hokkaido wizard-pianist followed Scenery with the soulful gem Mellow Dream (also available on We Release Jazz) in 1977. He then focused on improving his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui) and releasing 2 live albums. Ryo Fukui sadly passed away in March 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come.
Tracklisting Vinyl LP
A1 It Could Happen To You
A2 I Want To Talk About You
A3 Early Summer
B1 Willow Weep For Me
B2 Autumn Leaves
B3 Scenery
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1
Tomoko Soryo - I Say Who
2
Taeko Ohnuki - Kusuri Wo Takusan
3
Minako Yoshida - Midnight Driver
4
Nanako Sato - Subterranean Futari Bocci
5
Haruomi Hosono - Sports Men
6
Izumi Kobayashi - Coffee Rumba
7
Friends Of Earth (FOE) - In My Jungle
8
Akira Inoue, Hiroshi Sato, Masataka Mats - Sun Bathing
9
Hiroshi Satoh - Say Goodbye
10
Yukihiro Takahashi - Drip Dry Eyes
11
Masayoshi Takanaka - Bamboo Vender
12
Shigeru Suzuki - Lady Pink Panther
13
Haruomi Hosono, Takahiko Ishikawa, Masat - Mykonos No Hanayome
14
Yasuko Agawa - LA Night
15
Hitomi Tohyama - Exotic Yokogao
16
Tazumi Toyoshima - Machibouke
- NEW Color Vinyl Edition: “Beach Umbrella” wax (Blue and Green)
• Cover art by famed artist Hiroshi Nagai
• Extensive liner notes and bios
• Compiled by Andy Cabic (Vetiver), Zach Cowie (DJ & music supervisor) and Mark “Frosty” McNeill (dublab)
• 2xLP housed in a deluxe wide spine jacket with over sized fold-out booklet, full color printed inner sleeves, and custom die-cut obi card
• CD in a UV coated Digipak with oversized fold-out booklet and custom die-cut obi card
• Remastered audio
Pacific Breeze documents Japan’s blast into the stratosphere. By the 1960s, the nation had achieved a postwar miracle, soaring to become the world’s second largest economy. Thriving tech exports sent The Rising Sun over the moon. Its pocket cassette players, bleeping video games, and gleaming cars boomed worldwide, wooing pleasure points and pumping Japanese pockets full of yen.
Japan’s financial buoyancy also permeated its popular culture, birthing an audio analog called City Pop. This new sound arose in the mid ’70s and ruled through the ’80s, channeling the country’s contemporary psyche. It was sophisticated music mirroring Japan’s punch-drunk prosperity. City Pop epitomized the era, providing a soundtrack for emerging urbanites. An optimistic spirit buzzed through the music in neon-bathed, gauzy tableaus coated with groove-heavy strokes.
Pacific Breeze is an expertly compiled collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between. Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.
Many of the key City Pop players evolved from the Japanese New Music scene of the early ’70s, as heard on Light In The Attic’s acclaimed Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, Sayonara Amerika, Sayonara Nippon, this music was, “Deconstructing the line between imitation and authenticity.” Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.
Tracklist:
I Say Who - Tomoko Soryo, Kusuri Wo Takusan - Taeko Ohnuki, Midnight Driver - Minako Yoshida, Subterranean Futari Bocci - Nanako Sato, Sports Men - Haruomi Hosono, Coffee Rumba - Izumi Kobayashi, In My Jungle - F.O.E., Sun Bathing - Akira Inoue, Hiroshi Sato, Masataka Matsutoya, Say Goodbye - Hiroshi Satoh, Drip Dry Eyes - Yukihiro Takahashi, Bamboo Vendor - Masayoshi Takanaka, Lady Pink Panther - Shigeru Suzuki, Bride of Mykonos - Haruomi Hosono, Takahiko Ishikawa, Masataka Matsutoya, L.A. Night - Yasuko Agawa, Exotic Yokogao - Hitomi Tohyama, Machibouke - Tazumi Toyoshima
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Germany
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• Cover art by famed artist Hiroshi Nagai
• Extensive liner notes and bios
• Compiled by Andy Cabic (Vetiver), Zach Cowie (DJ & music supervisor) and Mark “Frosty” McNeill (dublab)
• 2xLP housed in a deluxe wide spine jacket with over sized fold-out booklet, full color printed inner sleeves, and custom die-cut obi card
• CD in a UV coated Digipak with oversized fold-out booklet and custom die-cut obi card
• Remastered audio
Pacific Breeze documents Japan’s blast into the stratosphere. By the 1960s, the nation had achieved a postwar miracle, soaring to become the world’s second largest economy. Thriving tech exports sent The Rising Sun over the moon. Its pocket cassette players, bleeping video games, and gleaming cars boomed worldwide, wooing pleasure points and pumping Japanese pockets full of yen.
Japan’s financial buoyancy also permeated its popular culture, birthing an audio analog called City Pop. This new sound arose in the mid ’70s and ruled through the ’80s, channeling the country’s contemporary psyche. It was sophisticated music mirroring Japan’s punch-drunk prosperity. City Pop epitomized the era, providing a soundtrack for emerging urbanites. An optimistic spirit buzzed through the music in neon-bathed, gauzy tableaus coated with groove-heavy strokes.
Pacific Breeze is an expertly compiled collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between. Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.
Many of the key City Pop players evolved from the Japanese New Music scene of the early ’70s, as heard on Light In The Attic’s acclaimed Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, Sayonara Amerika, Sayonara Nippon, this music was, “Deconstructing the line between imitation and authenticity.” Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.
Tracklist:
I Say Who - Tomoko Soryo, Kusuri Wo Takusan - Taeko Ohnuki, Midnight Driver - Minako Yoshida, Subterranean Futari Bocci - Nanako Sato, Sports Men - Haruomi Hosono, Coffee Rumba - Izumi Kobayashi, In My Jungle - F.O.E., Sun Bathing - Akira Inoue, Hiroshi Sato, Masataka Matsutoya, Say Goodbye - Hiroshi Satoh, Drip Dry Eyes - Yukihiro Takahashi, Bamboo Vendor - Masayoshi Takanaka, Lady Pink Panther - Shigeru Suzuki, Bride of Mykonos - Haruomi Hosono, Takahiko Ishikawa, Masataka Matsutoya, L.A. Night - Yasuko Agawa, Exotic Yokogao - Hitomi Tohyama, Machibouke - Tazumi Toyoshima
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1
Surprise Chef - Sleep Dreams
2
Surprise Chef - Bully Ball
3
Surprise Chef - Body Slam
4
Surprise Chef - Consulate Case
5
Surprise Chef - Dangerous
6
Surprise Chef - Websites
7
Surprise Chef - Fare Evader
8
Surprise Chef - Tag Dag
9
Surprise Chef - Plumb Tuckered
10
Surprise Chef - Dreamer's Disease
11
Surprise Chef - Slippery Dip
Australia’s world-renowned cinematic soul outfit Surprise Chef return with new album Superb. A record that represents a change in their creative approach and turns up the heat in their music. Trading in their meticulous writing and recording techniques for a looser and less planned approach with the intentions of bringing more levity to the process, and it comes through in spades. The high caliber musicianship is still front and center, but they push their sound into a more energetic and fun place on this album.
Album opener “Sleep Dreams” is the closest thing to a Surprise Chef tune one would come to expect, but then lead single “Bully Ball” comes on and you get the picture that they came to kick in the door on this one. The song’s gritty drums thunder through the speakers and get covered with percussion, keys, bass, and guitar chanks that stay in the pocket and bring the funk with them. The band pushes the boundaries of arrangement with tunes like “Body Slam” that starts off like a sweet soul track then pulls a 180, turning dark and haunting, centering on a sound they created by tucking a timpani into a bathroom two doors down from the mixing board. That same sense of experimentation comes up again on “Fare Evader” where they pepper another neck breaking rhythm track with synth notes that sound like robot sound effects from a 70s sci-fi film. The fellas turn up the tempo for the dance with tunes like “Consulate Case” and “Tag Dag”; the former pulling influence from afro-funk and the latter from jazz-funk. They take us deep into the beautiful world of Surprise Chef ballads on “Websites” and double down on their abilities to make beautiful and ethereal tracks with “Dreamer’s Disease”.
With their new album Superb, their new approach, and plans to tour the world, we are about to see Surprise Chef take the step from the underground’s most beloved to a household name and we are definitely here for it.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Album opener “Sleep Dreams” is the closest thing to a Surprise Chef tune one would come to expect, but then lead single “Bully Ball” comes on and you get the picture that they came to kick in the door on this one. The song’s gritty drums thunder through the speakers and get covered with percussion, keys, bass, and guitar chanks that stay in the pocket and bring the funk with them. The band pushes the boundaries of arrangement with tunes like “Body Slam” that starts off like a sweet soul track then pulls a 180, turning dark and haunting, centering on a sound they created by tucking a timpani into a bathroom two doors down from the mixing board. That same sense of experimentation comes up again on “Fare Evader” where they pepper another neck breaking rhythm track with synth notes that sound like robot sound effects from a 70s sci-fi film. The fellas turn up the tempo for the dance with tunes like “Consulate Case” and “Tag Dag”; the former pulling influence from afro-funk and the latter from jazz-funk. They take us deep into the beautiful world of Surprise Chef ballads on “Websites” and double down on their abilities to make beautiful and ethereal tracks with “Dreamer’s Disease”.
With their new album Superb, their new approach, and plans to tour the world, we are about to see Surprise Chef take the step from the underground’s most beloved to a household name and we are definitely here for it.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Common vs S Wonder - Intro Theme (I Wonder)
2
Common vs S Wonder - I Was Made To Love H.E.R.
3
Common vs S Wonder - Living For The Chi-City
4
Common vs S Wonder - Resurrection To Higher Ground
5
Common vs S Wonder - Bad Girl feat. Kanye West
6
Common vs S Wonder - The Sixth Superstition
7
Common vs S Wonder - Innervision Intermission
8
Common vs S Wonder - Sugar By The Pound
9
Common vs S Wonder - For Once In My Life feat. Erykah Badu
10
Common vs S Wonder - Like They Used to Say
11
Common vs S Wonder - God Bless the Freestyle (Interlude)
12
Common vs S Wonder - The Light (I'm Yours) feat. Bobby Caldwell
13
Common vs S Wonder - Southside feat. Kanye West
14
Common vs S Wonder - Pop's Rap feat. Lonnie Lynn Sr.
15
Common vs S Wonder - The Sixth Wonder (Bonus Track)
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1
Voilaaa - L'Intro
2
Voilaaa - System System (ft. Lass)
3
Voilaaa - Love and Death (ft. Joao Selva)
4
Voilaaa - Trouble Travel (ft. Nai-Jah)
5
Voilaaa - Anna est partie (ft. Pat Kalla & Ayuune Sule)
6
Voilaaa - Too Young To Die (ft. Olivya)
7
Voilaaa - Mtae Rock
8
Voilaaa - Sane Kunda (ft. Lass)
9
Voilaaa - Jolie Sarah (ft. Pat Kalla)
10
Voilaaa - Les temps ont changé (ft. Fouley Badiaga)
11
Voilaaa - Faché (ft. Pat Kalla)
12
Voilaaa - Tu nous fatigues (ft. Fouley Badiaga)
13
Voilaaa - C'est la danse
14
Voilaaa - Life
For almost 10 years and with 3 albums on the clock, Voilaaa has established itself with a unique style, reviving African rhythms and atmospheres in the colors of Disco dancefloors and Funky arrangements, all often accompanied by lyrics and vocals tinged with humor and commitment.
As a result, the Afro-Tropical adventure launched by producer Bruno “Patchworks” Hovart today leaves behind a host of hits (“On te l’avait dit”, “Spies Are Watching Me”, “Ben Bene La”, …), as well as trips around the globe and as many gigs and festivals, but also and above all numerous and lasting collaborations with singers like Lass, Pat Kalla, Sir Jean, Ayuune Sule, Rama Traore, or Fouley Badiaga, the latter which also marks its great return on two tracks of the album.
With C'est tout, Voilaaa returns to us without revisiting this unstoppable recipe, while seasoning things with a more Latin and Caribbean inspiration, brought back in Bruno Hovart's suitcases after several stays in South America in recent years. Introduced last spring with the release of a first maxi single, this new opus once again delivers hit after hit.
As on the already famous “Faché” alongside Pat Kalla, which displays all the classic assets of Voilaaa’s sound: punchy Afrobeat horns, woozy chords and crunchy clavinet licks rising above a low-slung, hypnotic, dub disco-meets-Afro-boogie groove. The rest of the album is not to be outdone with a total of 14 wild tracks entirely composed by an unstoppable Bruno Hovart.
Two exceptions confirm the rule, a beautiful interpretation of the song "Love and Death" by Ebo Taylor, where Voilaaa's Afro skills perfectly melt with Angolan and Brazilian vapors, beamed by Joao Selva's lovely vocals; as well as a magical cover of “Too Young to Die”, transporting Jamiroquai to the crossroads of Africa and the Antilles, carried by the superb vocal performance of singer Olivya (Dowdelin) for a first collaboration.
Well, Voilaaa is back as its best, “that’s all” (C’est tout).
A1 - L'Intro
A2 - System System (ft. Lass)
A3 - Love and Death (ft. Joao Selva)
B1 - Trouble Travel (ft. Nai-Jah)
B2 - Anna est partie (ft. Pat Kalla & Ayuune Sule)
B3 - Too Young To Die (ft. Olivya)
C1 - Mtae Rock
C2 - Sane Kunda (ft. Lass)
C3 - Jolie Sarah (ft. Pat Kalla)
C4 - Les temps ont changé (ft. Fouley Badiaga)
D1 - Faché (ft. Pat Kalla)
D2 - Tu nous fatigues (ft. Fouley Badiaga)
D3 - C'est la danse
D4 - Life
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
As a result, the Afro-Tropical adventure launched by producer Bruno “Patchworks” Hovart today leaves behind a host of hits (“On te l’avait dit”, “Spies Are Watching Me”, “Ben Bene La”, …), as well as trips around the globe and as many gigs and festivals, but also and above all numerous and lasting collaborations with singers like Lass, Pat Kalla, Sir Jean, Ayuune Sule, Rama Traore, or Fouley Badiaga, the latter which also marks its great return on two tracks of the album.
With C'est tout, Voilaaa returns to us without revisiting this unstoppable recipe, while seasoning things with a more Latin and Caribbean inspiration, brought back in Bruno Hovart's suitcases after several stays in South America in recent years. Introduced last spring with the release of a first maxi single, this new opus once again delivers hit after hit.
As on the already famous “Faché” alongside Pat Kalla, which displays all the classic assets of Voilaaa’s sound: punchy Afrobeat horns, woozy chords and crunchy clavinet licks rising above a low-slung, hypnotic, dub disco-meets-Afro-boogie groove. The rest of the album is not to be outdone with a total of 14 wild tracks entirely composed by an unstoppable Bruno Hovart.
Two exceptions confirm the rule, a beautiful interpretation of the song "Love and Death" by Ebo Taylor, where Voilaaa's Afro skills perfectly melt with Angolan and Brazilian vapors, beamed by Joao Selva's lovely vocals; as well as a magical cover of “Too Young to Die”, transporting Jamiroquai to the crossroads of Africa and the Antilles, carried by the superb vocal performance of singer Olivya (Dowdelin) for a first collaboration.
Well, Voilaaa is back as its best, “that’s all” (C’est tout).
A1 - L'Intro
A2 - System System (ft. Lass)
A3 - Love and Death (ft. Joao Selva)
B1 - Trouble Travel (ft. Nai-Jah)
B2 - Anna est partie (ft. Pat Kalla & Ayuune Sule)
B3 - Too Young To Die (ft. Olivya)
C1 - Mtae Rock
C2 - Sane Kunda (ft. Lass)
C3 - Jolie Sarah (ft. Pat Kalla)
C4 - Les temps ont changé (ft. Fouley Badiaga)
D1 - Faché (ft. Pat Kalla)
D2 - Tu nous fatigues (ft. Fouley Badiaga)
D3 - C'est la danse
D4 - Life
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1
VILLALOBOS - EASY LEE
2
VILLALOBOS - THEOGENESE
3
VILLALOBOS - BAHAHA HAHI
4
VILLALOBOS - LA RAJA
5
VILLALOBOS - I TRY TO LIVE (CAN I LIVE)
6
VILLALOBOS - QUIZÅS
7
VILLALOBOS - FUSION THE ENEMIES
8
VILLALOBOS - DEXTER
9
VILLALOBOS - BACH TO BACK
10
VILLALOBOS - Y.G.H.
11
VILLALOBOS - WAIWORINAO
Format: 4x12"LP
Tracklist
A EASY LEE
B THEOGENESE
C1 BAHAHA HAHI
C2 LA RAJA
D I TRY TO LIVE (CAN I LIVE)
E1 QUIZÅS
E2 FUSION THE ENEMIES
F DEXTER
G BACH TO BACK
H1 Y.G.H.
H2 WAIWORINAO
Ricardo Villalobos first album „Alcachofa“ from 2003.
Originally released by Playhouse as a 3x12“ record set, the re-release adds a fourth 12“, the „Alcachofa Tools“.
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Germany
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Tracklist
A EASY LEE
B THEOGENESE
C1 BAHAHA HAHI
C2 LA RAJA
D I TRY TO LIVE (CAN I LIVE)
E1 QUIZÅS
E2 FUSION THE ENEMIES
F DEXTER
G BACH TO BACK
H1 Y.G.H.
H2 WAIWORINAO
Ricardo Villalobos first album „Alcachofa“ from 2003.
Originally released by Playhouse as a 3x12“ record set, the re-release adds a fourth 12“, the „Alcachofa Tools“.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Over the course of 2025 International Anthem will be celebrating their eleventh year of existence by revisiting some of the most celebrated (and hard to find) entries in their decade of releases. These LP packages will be presented with new liner notes, new insert booklets, and the fresh 2025 redesign of their iconic obi strip and dome logo. They will also be at a price point intended to help make it easier for stores to stock and sell these essential pieces of their catalog.
Makaya McCraven’s International Anthem debut In The Moment is the album that properly introduced the then-burgeoning drummer/producer to the world.
140g Classic Black LP in heavyweight jacket, with 12x12" insert booklet, IA OBI strip & printed poly-lined inner sleeve. Pressed at Pallas in Germany.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Makaya McCraven’s International Anthem debut In The Moment is the album that properly introduced the then-burgeoning drummer/producer to the world.
140g Classic Black LP in heavyweight jacket, with 12x12" insert booklet, IA OBI strip & printed poly-lined inner sleeve. Pressed at Pallas in Germany.
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Surgeon - Serpent Void 05:42
2
Surgeon - Soul Fire 06:06
3
Surgeon - Divine Shadow 05:36
4
Surgeon - Forgotten Gods 06:12
5
Surgeon - Dying 03:05
6
Surgeon - Infinite Eye 06:26
7
Surgeon - Triple Threat 06:35
8
Surgeon - Empty Cloud 04:29
9
Surgeon - Fall 04:57
TERRITORIES: WORLD minus UK
FORMAT 2 x 140g black vinyl, full printed special color sleeve (gold & blue pantone), download card included
TRACKLIST
1. / A1 Serpent Void 05:42
2. / A2 Soul Fire 06:06
3. / B1 Divine Shadow 05:36
4. / B2 Forgotten Gods 06:12
5. / B3 Dying 03:05
6. / C1 Infinite Eye 06:26
7. / C2 Triple Threat 06:35
8. / D1 Empty Cloud 04:29
9. / D2 Fall 04:57
RELEASE:
Two years after releasing the acclaimed Crash Recoil, Anthony Child aka Surgeon returns to Tresor with new LP, Shell~Wave. Retaining the minimal equipment list and studio-version-of-live-show-sets approach of the previous album in order to focus on
the work itself, Shell~Wave is a deeply personal document of both where Surgeon is and has been, converging three decades of experience with a continued curiosity in the untested.
“To make this project, I had to dig really deep in terms of what my relationship was to techno; I’ve been involved with it for a really long time and there’s a lot about it I feel dislocated from, so I had to really think hard about what techno is to me. I often
get asked “what is techno to you?” but I can’t answer that with words; this album is the answer.” From the complex, twisting track Infinite Eye to the caustic Soul Fire, the eight tracks that make up the body of the album are single-take explorations of the
vast, hard yet minimal techno Child is synonymous with.
Neatly dividing the record in two, the emotional centre of the record comes in the form of Dying, a vibrating, beatless piece that with a mantra-like vocal loop steeped in reverberating effects. Further echoes of dub production appear throughout the record
as tracks like Divine Shadow, and Empty Cloud have an almost ever-present mist of reverberation, driven by the appearance of a new delay unit in the equipment list; while much of the philosophy of Crash Recoil’s creation is present, the process and the
instruments have changed as Child again switches up his approach to studio work.
This insistence on trying novel techniques doesn’t preclude returning to old ones, as this use of modern digital machines with live, hands-on takes that are as inspired by 60s producer Joe Meek and 70s reggae as they are by this year’s synthesiser expos.
“For me, it’s an interesting experience returning to old techniques again after 30 years. [I’m] always exploring and finding myself back at the beginning. Connecting the present with the past.”
This philosophy of ‘time travel’ is inherent to the music itself as the synchronised loops repeat while the delay and effects branch out, forming unique eddies; distinct quantum moments within the circular whole; the future leaking through the spaces
between the sounds. All of the concepts on the album are perfectly communicated through the painting by Taiwanese artist Jazz Szu-Ying Chen which suggests the movement of water, sound waves, and the chitinous shells of sea creatures.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
FORMAT 2 x 140g black vinyl, full printed special color sleeve (gold & blue pantone), download card included
TRACKLIST
1. / A1 Serpent Void 05:42
2. / A2 Soul Fire 06:06
3. / B1 Divine Shadow 05:36
4. / B2 Forgotten Gods 06:12
5. / B3 Dying 03:05
6. / C1 Infinite Eye 06:26
7. / C2 Triple Threat 06:35
8. / D1 Empty Cloud 04:29
9. / D2 Fall 04:57
RELEASE:
Two years after releasing the acclaimed Crash Recoil, Anthony Child aka Surgeon returns to Tresor with new LP, Shell~Wave. Retaining the minimal equipment list and studio-version-of-live-show-sets approach of the previous album in order to focus on
the work itself, Shell~Wave is a deeply personal document of both where Surgeon is and has been, converging three decades of experience with a continued curiosity in the untested.
“To make this project, I had to dig really deep in terms of what my relationship was to techno; I’ve been involved with it for a really long time and there’s a lot about it I feel dislocated from, so I had to really think hard about what techno is to me. I often
get asked “what is techno to you?” but I can’t answer that with words; this album is the answer.” From the complex, twisting track Infinite Eye to the caustic Soul Fire, the eight tracks that make up the body of the album are single-take explorations of the
vast, hard yet minimal techno Child is synonymous with.
Neatly dividing the record in two, the emotional centre of the record comes in the form of Dying, a vibrating, beatless piece that with a mantra-like vocal loop steeped in reverberating effects. Further echoes of dub production appear throughout the record
as tracks like Divine Shadow, and Empty Cloud have an almost ever-present mist of reverberation, driven by the appearance of a new delay unit in the equipment list; while much of the philosophy of Crash Recoil’s creation is present, the process and the
instruments have changed as Child again switches up his approach to studio work.
This insistence on trying novel techniques doesn’t preclude returning to old ones, as this use of modern digital machines with live, hands-on takes that are as inspired by 60s producer Joe Meek and 70s reggae as they are by this year’s synthesiser expos.
“For me, it’s an interesting experience returning to old techniques again after 30 years. [I’m] always exploring and finding myself back at the beginning. Connecting the present with the past.”
This philosophy of ‘time travel’ is inherent to the music itself as the synchronised loops repeat while the delay and effects branch out, forming unique eddies; distinct quantum moments within the circular whole; the future leaking through the spaces
between the sounds. All of the concepts on the album are perfectly communicated through the painting by Taiwanese artist Jazz Szu-Ying Chen which suggests the movement of water, sound waves, and the chitinous shells of sea creatures.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Wilson Tanner - Cherry
2
Wilson Tanner - Blush
3
Wilson Tanner - Grasshopper
4
Wilson Tanner - Brown
5
Wilson Tanner - Bubbles
6
Wilson Tanner - Old Vine
7
Wilson Tanner - Jaune
8
Wilson Tanner - Summer Rot
9
Wilson Tanner - Hogshead
10
Wilson Tanner - Legends
11
Wilson Tanner - Botrytis
12
Wilson Tanner - Daddles
Tracklist:
1. Cherry
2. Blush
3. Grasshopper
4. Brown
5. Bubbles
6. Old Vine
7. Jaune
8. Summer Rot
9. Hogshead
10. Legends
11. Botrytis
12. Daddles
Short info:
Wilson Tanner return to dry land with Legends, a wine-soaked agricultural fantasy, made among the grapevines at Manon Farm in South Australia. Where their earlier works settled into the sun-struck torpor of a suburban Perth backyard (69) or drifted off-course on a riverboat on Port Phillip Bay (ii), Legends trades salt air for vineyard sweat, the scrape of boots on dry earth and workers’ radios humming with the summer test cricket season.
Through this agricultural haze an image of a working vineyard emerges - ducks, dogs and plovers intrude; tractors and quads fly-by; stainless steel gleams at the edges. Recorded without mains power, the Manon demos overflow with farmyard ingenuity. Wind, brass, balalaika, balloon, pipe and synth are trained onto the staff with wire, tape and string.
A caricature of Australian viticulture, Legends is packed to the horns with the mythology and manure of natural wine. Swigging and belching in camaraderie, Wilson Tanner press their surroundings into something raw and unfiltered, letting bum notes, leftovers and sediment linger in the bottle. A cornucopia of biodynamic sounds.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1. Cherry
2. Blush
3. Grasshopper
4. Brown
5. Bubbles
6. Old Vine
7. Jaune
8. Summer Rot
9. Hogshead
10. Legends
11. Botrytis
12. Daddles
Short info:
Wilson Tanner return to dry land with Legends, a wine-soaked agricultural fantasy, made among the grapevines at Manon Farm in South Australia. Where their earlier works settled into the sun-struck torpor of a suburban Perth backyard (69) or drifted off-course on a riverboat on Port Phillip Bay (ii), Legends trades salt air for vineyard sweat, the scrape of boots on dry earth and workers’ radios humming with the summer test cricket season.
Through this agricultural haze an image of a working vineyard emerges - ducks, dogs and plovers intrude; tractors and quads fly-by; stainless steel gleams at the edges. Recorded without mains power, the Manon demos overflow with farmyard ingenuity. Wind, brass, balalaika, balloon, pipe and synth are trained onto the staff with wire, tape and string.
A caricature of Australian viticulture, Legends is packed to the horns with the mythology and manure of natural wine. Swigging and belching in camaraderie, Wilson Tanner press their surroundings into something raw and unfiltered, letting bum notes, leftovers and sediment linger in the bottle. A cornucopia of biodynamic sounds.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Grauzone - A1. Film 2
2
Grauzone - A2. Schlachtet!
3
Grauzone - A3. Hinter Den Bergen
4
Grauzone - A4. Maikäfer Flieg
5
Grauzone - A5. Marmelade Und Himbeereis
6
Grauzone - B1. Wütendes Glas
7
Grauzone - B2. Kälte Kriecht
8
Grauzone - B3. Kunstgewerbe
9
Grauzone - B4. Der Weg Zu Zweit
10
Grauzone - B5. In Der Nacht
11
Grauzone - C1. Eisbär
12
Grauzone - C2. Ich Lieb Sie
13
Grauzone - C3. Moskau
14
Grauzone - C4. Ein Tanz Mit Dem Tod
15
Grauzone - D1. Träume Mit Mir
16
Grauzone - D2. Ich Und Du
17
Grauzone - D3. Wütendes Glas (Maxi Version)
18
Grauzone - D4. Raum
19
Grauzone - D5. Film 1
Double LP: Heavy 350gsm Sleeve, Liner Notes, Sticker
- Official reissue of Grauzone's album with 9 bonus songs including the megahit "Eisbär" and more, straight from the original reels!
Genre: Post-Punk, Electronic, New Wave, Cold Wave, Pop, Synth, Industrial, Experimental
Tracklisting Double LP Album
A1. Film 2
A2. Schlachtet!
A3. Hinter Den Bergen
A4. Maikäfer Flieg
A5. Marmelade Und Himbeereis
B1. Wütendes Glas
B2. Kälte Kriecht
B3. Kunstgewerbe
B4. Der Weg Zu Zweit
B5. In Der Nacht
C1. Eisbär
C2. Ich Lieb Sie
C3. Moskau
C4. Ein Tanz Mit Dem Tod
D1. Traüme Mit Mir
D2. Ich Und Du
D3. Wütendes Glas (Maxi Version)
D4. Raum
D5. Film 1
WRWTFWW Records is very happy to reissue Swiss cult band Grauzone's self-titled album in an expanded 40 Years Anniversary Edition packed with the original 1981 album plus 9 extra songs, as well as extensive liner notes by Swiss music historian Lurker Grand. The 19-track album is available as a double LP vinyl in heavy 350gsm sleeve and a digipack CD, both sourced from the original reels and put together under the supervision of band member and all around legend Stephan Eicher.
The pioneering band from Bern (Switzerland) had a short-lived but highly-regarded career which birthed a cult discography that still fascinates and resonates today. Consisting of core members Martin Eicher, Stephan Eicher, and Marco Repetto, and on-and-off participants Christian GT Trüssel, Claudine Chirac, and Ingrid Berney, the elusive group broke new grounds in the early 80s, experimenting with punk and industrial music, early techno sounds, minimalism, new wave, pop, and various electronics. With an innovative and polished approach to design, visuals, performance, and all around style and philosophy on top of their superb music, the constantly transforming unit developed a whole experience - the Grauzone experience: wild and unpredictable, yet sophisticated and cohesive, or as Swiss music historian Lurker Grand would call it, "an Art band with a Punk attitude".
Completely rejecting the music industry rules and refusing to play the game of promotion, touring, release schedules, and TV appearances even though they had a multi-platinum international hit with the song "Eisbär", the band quickly disintegrated in full convention-defying glory, leaving behind an inspiring music legacy for the world to discover and discover again, one generation after the other.
This extended version of their debut (and only) album beautifully crystallizes the Grauzone miracle/accident - where pop and youthful experimentation meet at (new/cold/no) wave and industrial crossroads, and where classic hits ("Eisbär", "FILM 2", "Raum", "Träume Mit Mir", "Der Weg Zu Zweit"…) flawlessly mesh with unconventional deep cuts ("In Der Nacht", "Film 1", "Maikäfer Flieg"…). Very simply put: GOOD timeless music with an edge.
Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and Sylvie Fleury, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin's Rephlex label.
Points of interests
- For fans of electronic, post-punk, new wave, cold wave, Swiss wave, no wave, Neue Deutsche Welle (Welle means wave!), synth, pop, industrial, proto-techno, 80s, Stephan Eicher, Marco Repetto, Liaisons Dangereuses, Tristesse Contemporaine, Young Marble Giants, The Cure but weirder, Switzerland, romance, mountains, polar bears, contemporary art, wearing nice (white) shoes in dirty basement squats, and xerox machines.
- New release from WRWTFWW Records (Grauzone's Eisbär and Raum, Midori Takada's Through The Looking Glass, Kenji Kawai's Ghost in the Shell Original Soundtrack, John Carpenter's Dark Star Soundtrack, Ryo Fukui's Scenery, Dominique Guiot's L'Univers de la Mer, Bernard Parmegiani soundtracks and more).
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
- Official reissue of Grauzone's album with 9 bonus songs including the megahit "Eisbär" and more, straight from the original reels!
Genre: Post-Punk, Electronic, New Wave, Cold Wave, Pop, Synth, Industrial, Experimental
Tracklisting Double LP Album
A1. Film 2
A2. Schlachtet!
A3. Hinter Den Bergen
A4. Maikäfer Flieg
A5. Marmelade Und Himbeereis
B1. Wütendes Glas
B2. Kälte Kriecht
B3. Kunstgewerbe
B4. Der Weg Zu Zweit
B5. In Der Nacht
C1. Eisbär
C2. Ich Lieb Sie
C3. Moskau
C4. Ein Tanz Mit Dem Tod
D1. Traüme Mit Mir
D2. Ich Und Du
D3. Wütendes Glas (Maxi Version)
D4. Raum
D5. Film 1
WRWTFWW Records is very happy to reissue Swiss cult band Grauzone's self-titled album in an expanded 40 Years Anniversary Edition packed with the original 1981 album plus 9 extra songs, as well as extensive liner notes by Swiss music historian Lurker Grand. The 19-track album is available as a double LP vinyl in heavy 350gsm sleeve and a digipack CD, both sourced from the original reels and put together under the supervision of band member and all around legend Stephan Eicher.
The pioneering band from Bern (Switzerland) had a short-lived but highly-regarded career which birthed a cult discography that still fascinates and resonates today. Consisting of core members Martin Eicher, Stephan Eicher, and Marco Repetto, and on-and-off participants Christian GT Trüssel, Claudine Chirac, and Ingrid Berney, the elusive group broke new grounds in the early 80s, experimenting with punk and industrial music, early techno sounds, minimalism, new wave, pop, and various electronics. With an innovative and polished approach to design, visuals, performance, and all around style and philosophy on top of their superb music, the constantly transforming unit developed a whole experience - the Grauzone experience: wild and unpredictable, yet sophisticated and cohesive, or as Swiss music historian Lurker Grand would call it, "an Art band with a Punk attitude".
Completely rejecting the music industry rules and refusing to play the game of promotion, touring, release schedules, and TV appearances even though they had a multi-platinum international hit with the song "Eisbär", the band quickly disintegrated in full convention-defying glory, leaving behind an inspiring music legacy for the world to discover and discover again, one generation after the other.
This extended version of their debut (and only) album beautifully crystallizes the Grauzone miracle/accident - where pop and youthful experimentation meet at (new/cold/no) wave and industrial crossroads, and where classic hits ("Eisbär", "FILM 2", "Raum", "Träume Mit Mir", "Der Weg Zu Zweit"…) flawlessly mesh with unconventional deep cuts ("In Der Nacht", "Film 1", "Maikäfer Flieg"…). Very simply put: GOOD timeless music with an edge.
Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and Sylvie Fleury, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin's Rephlex label.
Points of interests
- For fans of electronic, post-punk, new wave, cold wave, Swiss wave, no wave, Neue Deutsche Welle (Welle means wave!), synth, pop, industrial, proto-techno, 80s, Stephan Eicher, Marco Repetto, Liaisons Dangereuses, Tristesse Contemporaine, Young Marble Giants, The Cure but weirder, Switzerland, romance, mountains, polar bears, contemporary art, wearing nice (white) shoes in dirty basement squats, and xerox machines.
- New release from WRWTFWW Records (Grauzone's Eisbär and Raum, Midori Takada's Through The Looking Glass, Kenji Kawai's Ghost in the Shell Original Soundtrack, John Carpenter's Dark Star Soundtrack, Ryo Fukui's Scenery, Dominique Guiot's L'Univers de la Mer, Bernard Parmegiani soundtracks and more).
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More