No one has lived a life quite like Marcos Valle. He became an overnight international sensation, fled a military dictatorship, dodged the Vietnam war draft, had his music sung by Homer Simpson, made enemies with Marlon Brando, and became an unsuspecting fitness guru for multiple generations. But to truly understand the great Brazilian composer, arranger, singer and multi instrumentalist, one must listen to his music.

Between the release of his first album in 1962 and today, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. He has also had his songs recorded by some of the all time greats, including Frank Sinatra, Sarah Vaughn, Sergio Mendes, Elis Regina, and (last but not least), Emma Button of the Spice Girls. He has also had his music sampled by Jay-Z, Kanye West, Pusha T and many more.


With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together.

“I believe my music is many things. It goes in different directions. I have many different ways of writing music, sometimes it’s melodies and harmony, sometimes the groove is the focus. But all the music I have made over my sixty year career is unified. It is all natural and it is all sincere. And this is what I wanted to bring to my new album.”

A prominent feature of Valle’s career has been his dual residence between Brazil and the USA. Originally moving over in the mid-sixties on the back of bossa nova’s international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. But the Vietnam War loomed and the threat of being drafted saw him return to Brazil. He spent the following years in Rio writing music for TV and film, as well as four cult favourite albums in collaboration with some of Brazil’s most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario and O Terco.

By 1975, Brazil's military dictatorship was at its most oppressive, making living and working increasingly difficult. Valle moved back to the US where he would reside in LA, writing songs for, and collaborating with the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, amongst others.

Túnel Acústico features two songs originally conceived during Valle’s time on the West Coast: “Feels So Good”, a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track “Life Is What It Is”, composed around the same time, with percussionist Laudir De Oliveira from the group Chicago.

Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the “Feels So Good” demo was restored with the help of producer Daniel Maunick, who also utilised AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware’s vocal hook, as well as extra keyboards and percussion.

Also written in late seventies LA, “Life Is What Is It” was co-penned by Laudir De Oliveira from the band Chicago and first released on the bands’ Chicago 13 album with lyrics by Robert Lamb. Another nod to his good times in LA, Valle recorded his own version for Túnel Acústico, upping the tempo and deepening the groove for a blast of irresistible summer soul.

On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc.

The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno (Bora Meu Vem), Céu (Nao Sei), and Moreno Veloso (Palavras Tão Gentis) as well as Valle's brother Paulo Sergio Valle (Tem Que Ser Feliz).

The album closes with "Thank You Burt (For Bacharach)", a tribute to the legendary composer who passed away in 2023.



Credits:

Todo Dia Santo
(Marcos Valle)

Composition and Lyrics by Marcos Valle
Keys & Vocals: Marcos Valle
Drums: Renato Massa
Bass: Alex Malheiros
Percussion: Ian Moreira
Additional Percussion & FX: Daniel Maunick



Life Is What It Is
(Marcos Valle/Laudir de Oliveira)

Composition and Lyrics by Marcos Valle & Laudir De Oliveira
Keys & Vocals: Marcos Valle
Drums: Renato Massa
Bass: Alex Malheiros
Percussion: Ian Moreira
Guitar: Paulinho Guitarra



Assim Não Dá
(Marcos Valle)

Composition and Lyrics by Marcos Valle
Marcos Valle: Keys & Vocals
Patricia Alvi: Vocals
Drums: Renato Massa
Bass: Alex Malheiros
Percussion: Ian Moreira
Guitar: Paulinho Guitarra

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Tracklist
A1. Life Forces (Joaquin’s Sacred Rhythm Version)
A2. Life Forces (Joaquin’s Sacred Rhythm Dub)
B1. Umoja (Joaquin’s Sacred Rhythm Version)
B2. Umoja (Joaquin’s Sacred Rhythm Dub)

C1. Soul Of The People (Joaquin’s Sacred Dance Version)
C2. Soul Of The People (Joaquin’s Cosmic Arts Dub)
D1. Into The Light Of Love (Joaquin’s Spirit of the Dance Version)
D2. Into The Light Of Love (Joaquin’s Spirit of the Dance Instrumental Version)

Info:
Renowned New York City house music icon Joaquin Joe Claussell has embarked on an electrifying project of ecstatic, spiritual club music with his latest endeavor: a double album worth of reinterpretations of the music from Italian jazz master Nicola Conte's 2023 album Umoja.

Claussell's collaboration with Nicola Conte and Far Out Recordings helps mark the label’s 30th anniversary, as Claussell joins fellow producers such as Theo Parrish, Ron Trent, Kenny Dope and 4hero in remixing music from the label’s catalogue.

Extending the tracks from Umoja for full length, dance-floor focused mixes, Claussell has accentuated the original music’s global, afro-futurist vision with comprehensive rearrangements - featuring additional percussion, guitars, keyboards, synthesizers and drum programming - excavating the source music and re-recording many of its parts under the auspices of his Sacred Music & Cosmic Arts banner.

Nicola Conte - Umoja (Joaquin Joe Claussell Sacred Rhythm Music & Cosmic Arts Remixes) releases on double vinyl LP, CD and digitally on 28th June 2024 on Far Out Recordings.

"VERY STRONG"

GILLES PETERSON

"THIS VERSION SOUNDS LOVELY"

FRANCOIS K


"THIS JAM IS GREAT"

VOLCOV

"GREAT STUFF"

JD TWITCH (OPTIMO)

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Tracklist
A1. Linha Do Horizonte
A2. Melô Dos Dois Bicudos
A3. Brazil
A4. Seems Like This
A5. Caça A Raposa

B1. Estrada Dos Deuses
B2. Wait for my turn
B3. Montreal City
B4. Morning
B5. Periscópio

(Gatefold LP) Azimuth was the blueprint for the band's own 'samba doido'/ 'crazy samba' sound. Released in the summer of 1975, the album was a minor commercial success selling around 200,000 copies, but it's now recognised as an essential piece of Brazilian music history. Surely the rawest and funkiest of Azymuth's albums, every track exudes the brimming energy of three exceptionally creative young men from Rio, with incendiary results. Opener ‘Linha do Horizonte’ – a sublime piece of melancholic electronic saudade where deep cinematic synths melt into gently strummed acoustic jazz guitar - was used as the theme tune for TV Novella and went on to sell half a million, propelling Azymuth into national acclaim. Azymuth went on to become one of the best-selling jazz artists of the 80s, but this is one of their most special releases, and a firm cult favourite.


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The Brighton based, Brazilian born composer, band leader and multi-instrumentalist behind Wax Machine will soon their debut solo album Cabana. Melancholy and hope combine across ten tracks of dreamy bossa, ambient folk, fuzzy tropicalia and majestic MPB.

Tracklist
A1 Onde Eu Vou
A2 Each Day
A3 Assim
A4 Ensolarade
A5 Casinha

B1 Somewhere
B2 Diferente
B3 Midnight Blue
B4 Lugar
B5 Metamorfosed


Having spent their formative years in São Paulo Brazil, as a teenager, Lau Ro found themself uprooted from their home. Moving with their family to Europe in search of a better quality of life, their story was like that of many immigrants in the same position. Lau Ro's parents found work in factories and cleaning jobs, for the first few years in the North of Italy and then in Brighton on England's Southern coast. "We never managed to visit back home, so my connection to Brazil became largely made up of childhood memories and my fascination with all the 60s and 70s music I could find from there."
In Brighton, the young non-binary singer and composer would immerse themself amongst the city's vanguard of free-thinking artists and musicians. Lau Ro formed Wax Machine whose prefigurative, psychedelic community provided a glimmer of countercultural hope amid a backdrop of national political decline. From 2020-23, Wax Machine birthed three cult-favourite albums in as many years; indebted in part to their British psychedelic forebears from progressive folk, rock and jazz yore. But the kernel of Lau's Brazilian sound was already beginning to blossom across Wax Machine's releases. Now, taking root deeper still, Lau Ro steps forward with their debut album: Cabana.
Named after the small wood cabin at the bottom of their garden where the album was recorded, Cabana is a deeply personal record of memory, self-discovery and imagination. Melancholy and hope combine across ten tracks of dreamy bossa, ambient folk, fuzzy tropicalia and majestic MPB. The music is swathed in masterful string arrangements and trippy electronics in equal part, while Lau Ro's delicate, yet quietly confident voice takes acerbic aim (in both English and Portuguese) at polluted city life, while dreaming of a utopia, rich with nature and wildlife.
Like the musical equivalent of semantic drift, Lau Ro's displacement led to the creation of another Brazil. A mythic place in Lau's soul, as they put it, "where the sunshine and joy of my childhood remained untapped." Lau continues: "It's music that might sound as if it came out of a parallel universe Brazil, rather than its modern day landscape. I am nowadays rediscovering Brazil, going back as often as I can and trying to stay connected to these different parts of the world and myself."
Cabana releases on vinyl LP, CD and digitally on 31st May 2024 via Far Out Recordings.


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Following Far Out’s reissue of Agustin Pereyra Lucena Quartet’s La Rana, the label continues its memorialisation of the late, great Argentinian guitarist’s music, with the first ever direct from tape, audiophile reissue of Pereyra Lucena’s self-titled debut album from 1970.

Tracklisting
A1 O Astronauta
A2 Tristeza De Nos Doi
A3 Chuva
A4 Tema Para Martin
A5 Consolação
B1 Canto De Ossanha
B2 Pro Forma
B4 Niña No Divagues
B5 Berimbau

One of the outstanding South American guitarists, Agustin Pereyra Lucena commanded a unique position in Latin music history. He hailed from Buenos Aires, but was obsessed with the music of Brazil. A disciple of Antônio Carlos Jobim, Baden Powell and Vinicius De Moraes, the nature of Agustin’s Argentinian roots combined with the nurture of Brazil and its music to give Agustin a sound entirely his own.

After being scouted in a nightclub, by musician and guitar craftsman Jorge Demonte, Agustin was invited for an audition at Argenitinian label Tonodisc. Before he knew it, aged 22, he was in the studio recording his first album.

Agustin enlisted fellow Argentinian Brazilophiles Mario "Mojarra" Fernandez who played bass and drummer Enrique "Zurdo" Roizner. He had first heard the duo backing Vinicius de Moraes, Toquinho and Maria Creuza on their legendary La Fusa live album, also recorded in Buenos Aires. For vocals, Agustin brought in his old friend, a French teacher called Helena Uriburu, who at the time had (unbelievably) never sung in a studio before.

The atypical bossas and spiritual swinging sambas, composed by many of Agustin’s aforementioned heroes, were elevated to new heights by Agustin’s dazzling arrangements and phenomenal guitar playing. The almost cosmic reaches Agustin achieved with his sound are balanced against the stylish sophistication and breezy nature of the music.

Moments of calm serenity include Agustin’s own composition “Nina No Divagues”, Durval Ferreira and Pedro Camargo’s “Chuva” and the Brazilian bossa classic “Tristeza Nos Dois”, which feels like it draws equally upon exotica and early library records. Accompanied by Roizner’s shuffling samba jazz drums, opener “O Astronauta” is Agustin’s cover of the Brazilian guitar standard composed by Baden Powell. Another Baden Powell classic, “Consolacao” is an extended full-band set, which features Agustin’s crisp guitar dancing around a hypnotic rhythm section. Upright bass is swapped out for a big, round-sounding electric one, which sits loud in the mix for almost seven minutes of deep, groovy, distinctively early-seventies magic.

Agustin passed away in 2019, and it is only in recent years that he is starting to gain his plaudits as one of South America’s greats. On the liner notes of the album Vinicius De Moraes writes: “I think I never saw, with the exception of Baden Powell and Toquinho, anyone more linked to his instrument than Agustín Pereyra Lucena. It would give the impression that if the guitar were taken away from him, he would fade into music as one dies from the amputation of an arm.”





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TRACKLIST

A1. Abertura
A2. Curumim 2
A3. Paperstrings
A4. Agua de Estrellas
A5. Bari
A6. Etude 1
A7. Meianoite
A8. Reflections
A9. Coisa
B1. Coisa 2
B2. CPVM
B3. Txaii
B4. Tempo
B5. De manhã
B6. Dormenor

INFO

Far Out Recordings proudly presents the new album from Brazilian guitarist and composer Fabiano do Nascimento: Mundo Solo.

Recorded at his home studio in Los Angeles (2020) the album is fundamentally the sound of a man alone with his instruments.

Utilizing a variety of guitars, including 6, 7 and 10 strings, Oktav guitar and electric baritone guitar, alongside a host of pedals and synthesizers, Fabiano tracked imagined landscapes with expressive, expansive improvisations, which tend toward the more ambient and atmospheric reaches of his recent output.

Adopting Hermeto Pascoal’s concept of Universal Music, a rejection of nationalistic tendencies in order to express all of one’s musical influences all at once, Fabiano avoided leaning too heavily on any particular musical language, without denying his own musical roots.

After studying classical piano as a child, the Rio de Janeiro native discovered the guitar aged 10. Studying under his late uncle, Lucio Nascimento, he eventually left Brazil for LA, where he soon became an in-demand player for his distinct and authentic sound. He has since released seven albums under his own name and collaborated with renowned Brazilian artists including Arthur Verocai and Airto Moreira, as well as experimental US saxophonist Sam Gendel.

Mundo Solo (Do Nascimento’s eighth), was recorded in one take per track, with occasional overdubs and a few appearances from collaborators and friends Julien Canthelm (drums on Etude 1), Ajurinã Zwarg, (percussion on CPMV) and Gabe Noel (Bass on Curumim).

Fabiano Do Nascimento’s consummate mastery of his instrument has afforded him a freedom of expression few can claim. Blending the emotional with the elemental, Mundo Solo is a stunning snapshot of solitude and the beauty which can blossom within it.

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The previously unreleased debut album from 1975. 'Starting Point' was to mark the inception of one of Brazil™s most daring instrumental groups. Their debut now sits in the lofty echelon of otherworldly 70s Brazilian music, alongside the likes of Marcos Resende & Index's self-titled debut, Cesar Mariano & Cia's Sao Paulo Brasil, Azymuth's debut and indeed Hermeto Pascoal's Viajando Com O Som

TRACKLIST A1. Por–o da Teodor (Zé Eduardo Nazario) A2. Onze por Oito (Lelo Nazario) A3. Organica (Lelo Nazario) B1. Suite Orquidea Negra (Lelo Nazario) B2. Jardim Candida (Zé Eduardo Nazario) B3. Cortejo dos Reis Negros (Lelo Nazario)


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Continuing to shine a light on John Rocca & co.'s pioneering early 80s music, Far Out proudly presents the first ever 12” release of Freeez’s monster brit-funk classic “Mariposa”, along with the equally heavy and hard to find 12” mix of “Alone”.



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(Gatefold LP) Feat. fellow Brazilian musicians Mauricio Maestro (who wrote/co-wrote four of the songs), Nana Vasconcelos and Tutty Moreno, and some of the most in-demand stateside players including Michael Brecker, Joe Farrell and Buster Williams, the recordings for Natureza took place at Columbia Studios and Ogerman produced the album, provided the arrangements and conducted the orchestra. “This album was going to be Joyce's international breakthrough release… but it never came out…” - Wax Poetics


TRACKLIST

A1. Feminina
A2. Mistérios
A3. Coração Sonhador
B1. Moreno
B2. Descompassadamente
B3. Ciclo Da Vida
B4. Pega Leve

INFO

"This album was going to be Joyce’s international breakthrough release… but it never came out…" - Wax Poetics

Not long after the dawn of her career, as a teenager in Rio de Janeiro, Joyce was declared "one of the greatest singers" by Antonio Carlos Jobim. Yet despite reputable accolades and the fact that she has since recorded over thirty acclaimed albums, Joyce never quite achieved the international recognition of the likes of Jobim, João Gilberto and Sergio Mendes, all of whom became global stars after releasing with major labels in the US.

There was a moment when it seemed she might be on the cusp of an international breakthrough. While living in New York, Joyce was approached by the great German producer Claus Ogerman. Ogerman had already played a pivotal role in the development and popularisation of Brazilian music in the 1960s, recording with some of the all-time greats like Jobim and João Gilberto, as well as North American idols like Frank Sinatra, Billie Holiday and Bill Evans.

"I met him in New York City, in 1977", recalls Joyce. "I was living and playing there, and João Palma, Brazilian drummer who used to play with Jobim, introduced me to Claus. We had an audition, he liked what we were doing and decided to produce an album with us."

Featuring fellow Brazilian musicians Mauricio Maestro (who wrote/co-wrote four of the songs), Nana Vasconcelos and Tutty Moreno, and some of the most in-demand stateside players including Michael Brecker, Joe Farrell and Buster Williams, the recordings for Natureza took place at Columbia Studios and Ogerman produced the album, provided the arrangements and conducted the orchestra.

But mysteriously, Natureza was never released, and what should have been Joyce's big moment never happened. As Joyce remembers, "I returned home, but Claus and I remained in contact, by letters and phone calls. He was very enthusiastic about the album and tried to hook me up with Michael Franks. He wanted me to go back to NYC in order to re-record the vocals in English with new lyrics, which I actually wasn't too happy about. But then I got pregnant with my third child and could not leave Brazil. And little by little our contact became rare, until I lost track of him completely. And that was it. I never heard from him again."

While Claus was known to be something of an elusive character, the album's disappearance might also have been a result of timing. The Brazilian craze was coming to an end, making way for disco and new wave at the end of the seventies, and Ogerman struggled to find a major label interested in a new Brazilian sensation. Additionally, as Joyce mentions, it wasn't quite finished. Ogerman wanted to add finishing touches to the mix and to record alternative English lyrics for the US and international markets - a critical artistic difference between Joyce and Ogerman.

As the military dictatorship's grip on Brazil began to subside in the 1980s, Joyce had a handful of hits in her home county, including a tribute to her daughters 'Clareana', and the iconic 'Feminina' - an intergenerational conversation between mother and daughter about what it means to be a woman. But already a feminist pioneer, these successes were hard fought. Joyce had caused controversy as a nineteen-year-old when she became the first in Brazil to sing from the first-person feminine perspective, and the institutional sexism she faced was worsened by the dictatorship who would often censor her music. Even once the Junta was out of the way, Joyce found herself up against the male-dominated major record companies in Brazil, who sought to dictate her career and sexualise her image, before dropping her for refusing to play along.

A few years after the success of her albums Feminina and Agua E Luz in Brazil, Joyce's music began to find its way to the UK, Europe and Japan, and "Feminina" and "Aldeia de Ogum" became classics on the underground jazz-dance scenes of the mid to late-eighties and early-nineties.

The full-length version of "Feminina" from the Natureza sessions was first heard on a Brazilian Jazz compilation in 1999 and "Descompassadamente" was licensed for a CD compiling the work of Claus Ogerman in 2002. Following these, word began to get out about an unreleased Joyce album with Claus Ogerman and the legend of Natureza grew.

Forty-five years since it was recorded, Natureza finally sees the light of day, as Joyce intended: with her own Portuguese lyrics and vocals. Featuring the fabled 11-minute version of 'Feminina', as well as the never before heard 'Coração Sonhador' composed and performed by Mauricio Maestro, Natureza's release is a landmark in Brazilian music history and represents a triumphant, if overdue victory for Joyce as an outspoken female artist who has consistently refused to bow to patriarchal pressure.

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Coloured Vinyl LP (flame splattered colour vinyl) Brazilian most successful band's critically acclaimed 2016 album on limited edition flamed vinyl!

TRACKLIST
A1. Batucada Em Marte
A2. Papa Samba
A3. Neptunians (short version)
A4. Rio Doce
A5. Corumbá
B1. Fênix
B2. Villa Mariana (De Tarde)
B3. Orange Clouds
B4. O Matagal

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With a voice of pure gold and a startling sensitivity for heartfelt pop songwriting, on No Reino Dos Afetos (In the Realm of Affections), Berle firmly embraces earnestness, through starry-eyed Brazilian love songs, ambient vignettes, warm, home-cooked beats and gentle strokes of MPB genius.

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Coloured Vinyl LP (Green). Hermeto's lost 1976 masterpiece pressed on a (very) limited edition green vinyl

TRACKLIST


A1. Dança do Pajé (09:02)
A2. Mavumvavumpefoco (03:39)
A3. Natal (Tema Das Flutas) (05:13)
B1. Casinha Pequenina (26:36)

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In 2018 Far Out Recordings signed a record deal with Brooklyn born, nomadic producer Jneiro Jarel. Having just put the finishing touches to the recordings, Jarel suffered an ischemic stroke while living and working in Costa Rica and his wife Indigo was forced to set up a crowd fund to cover special medical transport back to the states to receive treatment. The release was put on hold, but thanks to the generosity of friends and fans around the world, Jarel was able to get the care he needed and is now on the long road to recovery. We’re overjoyed to finally announce that Jneiro Jarel’s After A Thousand Years is now set for an October 2020 release.

Throughout a career that has spanned over twenty years and seen collaborations with MF DOOM, Thom Yorke, Damon Albarn, BadBadNotGood, Portishead’s Beth Gibbons, Kimbra and Khujo Goodie (Dungeon Family), Jneiro Jarel’s consistently distinctive, forward thinking productions, as well as his love for the music of Brazil, made his partnership with Far Out a perfect fit.


Recorded between New York, New Orleans, Miami and Costa Rica, After A Thousand Years features legendary multi-instrumentalist Bill Summers, famed for his work with Herbie Hancock, Quincy Jones and Eddie Henderson. The album also features Malawian-American guitarist Masauko Chipembere who has worked with the likes of RZA from Wu-Tang Clan and Ladybug Mecca from Digable Planets.

A1. If I Could See Heaven Without Dying Feat: Scott Burton
A2. Ce-les-tial
A3. Sunwalkers Part Two and Three Feat: Bill Summers
A4. Just A Little While Longer
A5. African Bahia Sol Feat: Dr Who Dat?
B1. Viberian Waves 1 & 2 Feat: Capitol Peoples
B2. Broken Arted
B3. Banana Peel (Cáscara de plátano) Featuring Masauko Chipembere
B4. TROP-PICS
B5. Let The Cuica Play Feat: Café and Micröclimate



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(180g 12" Vinyl) The original mix, produced by Daniel Maunick, accompanies remixes from three of mainland Europe’s finest DJ/producer combos, prolific German nu-jazz collective Jazzanova, MCDE Recordings & Faces Records’ Pablo Valentino, and Croatian house veteran Eddy Ramich with assistance from Zagreb duo Jan Kincl & Regis Kattie.


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12" Vinyl (180g) Celebrating the label's 25th anniversary, Far Out Recordings presents a series of limited edition vinyl 12"s highlighting its contribution to underground dance music. One of the label's most requested reissues, it's a typically timeless effort from the duo comprising Mark Pritchard and Tom Middleton and has stayed relevant within the house/techno canon for over twenty years.


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



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180g Vinyl LP (incl. Download Code) Due for an Autumn release on Far Out Recordings, Rasif sees Amaro Freitas take a deserved step onto the world stage. From the Afro-Brazilian maracatu born on the sugar plantations of slavery, to the high intensity carnival rhythms of frevo and baião, Amaro's heavily percussive approach to jazz is as indebted to these Pernambuco traditions as it is to Coltrane, Parker and Monk.


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180g LP (Vinyl only release) In 1975, the prolific and multi-talented Brazilian comedians Chico Anysio and Arnaud Rodrigues recorded an album based on the protagonist of one of their most celebrated TV series. This soundtrack/musical re-imagining of the series combines jazz-funk with samba soul and MPB, with the help of cult Brazilian trio Azymuth.


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Nearly 10 years out of print, recut and remastered from the analogue tape masters from Alchemy's pristine mastering work; focusing and enriching every finite detail into pure analogue bliss! This remastered edition features epic reworks of cv313's now classic, "Seconds To Forever" released back in 2010. The first track is a reshape by intrusion, dubbed out live in the mix from the original 8 channel analogue tapes as to summon the spirit of King Tubby. There's also two beautiful remixes from the brilliant Rod Modell (DeepChord). Those touched by his recent output will have a lot to love here. Gorgeous plumes of sound envelope the listener into near hypnosis, subdiving deeper than even the original work could. Sublime and beyond gravity, another exquisite excursion transmitting from the other side of the galaxy. Pressed onto 150 gram crystal virgin blue wax. Tip!

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Triple edition, packaged in thick PVC cover with a foldable double sided poster and download card.

Celebrating the 20 year anniversary of highly revered Jazz collective, Build An Ark from Los Angeles, California. Formed in 2003 and releasing albums between 2004 and 2010, the Carlos Niño co-ordinated project included contributions from luminaries such Phil Ranelin, Big Black, Miguel Atwood-Ferguson, Adam Rudolph, Derf Reklaw (R.I.P.), Dexter Story, Dwight Trible, Gaby Hernandez, Mia Doi Todd, Munyungo Jackson, Nate Morgan (R.I.P.) Waberi Jordan, Avotcja & many more.

This set was compiled by band leader Carlos Niño with recordings from 2001 to 2008 that have previously been released on Kindred Spirits.

Gilles Peterson says "It's a beauty!"

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Right for the 30th anniversary of his Electro project Electro Nation, Thomas P. Heckmann returns with a brand new album on his mates label Activities Records from Brussels with a stunning album artwork by Elzo Durt ! Slave To The Machine is a full story throughout the album about an ordinary life that is down to all things being controlled by machines, internet and digits, just to escape and meet the machine at he end... And the end is obviously open."

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10 Year anniversary edition, recut and remastered from the analogue tape masters from Bazza's Alchemy Mastering in London; focusing and enriching every finite detail. This EP features 2 new pieces of sonic meditation residing somewhere between space and time, somewhere in the cosmos. With the title track, "Beyond Starlit Sky", vaporous atmospheres emerge from the distance, while ghostly apparitions and analog modulations rise to the surface of a truly hypnotizing rhythm, submerging the mind deep into an analog world. With the "Live" version a mixture of themes from "Fading Lights" and "Beyond Starlit Sky" find an engaging syncopation, resting somewhere in the ether. Those who loved Echospace's "The Coldest Season" on Modern Love will have plenty to adore here, timeless in all senses of the word.

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Tracklist
A1. Ricardo Marrero & The Group - Babalonia 3:20
A2. Spice - The Last Time 4:05
A3. 1619 Bad Ass Band - Nothing Can Stop My Loving You 3:54
A4. The Corner Gang - The Music Of Your Mind 2:25
A5. Reality – Let’s Party People

B1. Cynthia Schloss - There's A Fire 2:26
B2. The Ultimates - Girl I've Been Trying To Tell You 2:58
B3. Erik Dunbar - You Must Be From Heaven 3:25
B4. The Topics - God And You 3:35
B5. Lloyd Price – Music – Music 3:59

(Japanese OBI-Strip) The best tracks from the legendary tax scam records of TSG have been compiled into an LP!

The original pressings are already hard to find, being extremely rare! Plus, to collect them all, you'd need the cost of a car for this parade of super pricey premium editions! If you want to enjoy the ultimate rare grooves, this is your only option!
These soul and funk performances, buried in the midst of the late 70s US record industry, which could be considered the destiny of the TAX SCAM label, are a must-listen!

Enjoy killer tunes with grooves and feelings that are just as good as the hits of the time!




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2024 Repress!

Mystic Jungle makes a much-awaited return with Deviant Disco, a new 12” of sun-soaked groovers released through Periodica Records. A culmination of several years of writing, vibing, and influence mining, these compositions represent the producer’s most varied and expansive works yet, and to fully realize his vision, Mystic Jungle invited the entire West Hill Studio crew to contribute narcotizing layers of pop vocal mesmerism, and additional touches of guitar, bass, percussion, and synth.

Strains of Italo disco, balearic boogie, and freaky funk are interspersed amidst passages of Nigerian highlife, soft focus AOR, kinetic Hi-NRG, and exotic lover’s rock, resulting in a personalized voyage through a paradise of sound, one that is unmoored from the concerns of modernity, and celebrates instead a hedonistic naivety, and a desire to dance all day in spiritual ecstasy.

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** Comes in quality tip-on sleeve.

In a testament to Ireland’s vibrant musical history, Allchival presents an anthology celebrating the disco era’s hidden gems from Stuart Bingham's Sunshine. Culled from the annals of their studio recordings, this collection shines a light on the country’s lesser-known contributions to the global disco phenomenon.

Kicking off the compilation with Sunshine's electrifying "Boogie on Up," a testament to the band's prowess in embracing disco rhythms despite their pop cover origins. Produced by the acclaimed Paul Curtis, the track embodies the infectious spirit of disco, marking a pivotal moment for Irish disco hits. Accompanying it is "Don't Stop Me," radiating with Euro-disco vibes, further exemplifying Sunshine's versatility. Bingham recounts the bittersweet journey of "If This Is Free." Initially slated for success under Curtis's wing, the disco era's abrupt demise altered its trajectory, leading to an independent recording that retains a raw, garagey edge reminiscent of the era's ethos.

"Give It To Me" is another standout, blending Nile Rodgers-inspired arrangements with a Euro-disco flair. Stuart Bingham's production prowess and Rosey's captivating vocals converge to create an irresistible groove that transcends disco conventions.

Venturing into more experimental territory, "The Boogie Bug" showcases some Irish ingenuity in rap-infused grooves. Despite its ahead-of-its-time sound, the track faced resistance in a disco-weary landscape and rounding out the compilation is "Oh Gee, I Got U B.B.," a playful nod to dub-mix traditions.

This Sunshine anthology is a journey through Ireland's disco era, unearthing forgotten gems and shedding light on the country's rich musical tapestry. From Sunshine's infectious rhythms to Stuart Bingham's resilient spirit, each track encapsulates the era's vibrancy and innovation.

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Berlin underground authority Stefan Braatz returns to Nu Groove with a four-track EP showcasing his timeless sound – Outlaw. An established club DJ and producer who has donned many hats in his 30-year career, Stefan Braatz is known for his expansive knowledge that defies genre convention, with his previous Nu Groove collaboration ‘Everyman Jack’ featuring Chicago legends Virgo Four combining his respect for the old school with new school techniques. Opening the EP is the eponymous track ‘Outlaw’, featuring vocals from Chicago house pioneer Harry Dennis – a contemporary of Ron Hardy, the late Frankie Knuckles and a member of Jungle Wonz alongside Marshall Jefferson. As Braatz’s relentless synth energy powers through, Dennis’s unmistakeable free flow guides the composition with ease. What follows are three solo tracks that summarise the Berlin expert’s opposition to the genre restraints; ‘Conversation’ opens a dialogue between synth strings and piano that loops in ecstasy, while ‘Dingy Thoughts’ and ‘One More Dream’ are darker club cuts that bubble with intensity in the lower registers.

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