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 More

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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Meaning ‘Hi’ in Uruguayan slang, Opa are a South American jazz-funk phenomenon. For fans of Azymuth, Weather Report, Cortex and The Headhunters.

Tracklisting
A1 Goldenwings
A2 Brooklynville
A3 Brother Rada
A4 African Bird
A5 One+One+One Is Two
B1 Corre Niña
B2 Casa Forte
B3 Never Can Say Goodbye
B4 Back Home (The Inner Cry)

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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. More

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. More

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 More

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. More

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) More

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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Originally released in 1995, Spanners is the second album from The Black Dog and their first for Warp Records. In 2017 it was selected by Pitchfork as one of ‘The 50 Best IDM Albums of All Time’. The reissue will be the first time the vinyl is available since its original pressing in 1995. After this release the original trio of Ed Handley, Andy Turner and Ken Downie went their separate ways - Handley and Turner formed Plaid, whilst Downie carried on with The Black Dog name, initially by himself, and latterly with the assistance of brothers Martin and Richard Dust.

Exact replicas of the original editions, Album re-cut by Beau Thomas at Ten Eight Seven Mastering on classic black wax.

- Packaging spec: Black 2LP vinyl in polylined inner sleeves in gatefold outer sleeve with download code

Tracklist
A1. Raxmus
A2. Bolt1
A3. Barbola Work
A4. Bolt2
A5. Psil-cosyin
B1. Chase The Manhattan
B2. Bolt3
B3. Tahr
B4. Bolt4
B5. Further Harm
C1. Nommo
C2. Bolt5
C3. Pot Noddle
C4. Bolt6
C5. End Of Time
D1. Utopian Dream
D2. Bolt7
D3. Frisbee Skip
D4. Chesh More

First time available on vinyl in 30 years.

Includes rare early tracks by Aphex Twin (as The Dice Man), Autechre, Richie Hawtin (as UP!), B12 (as Musicology) and Alex Paterson (The Orb), the latter featuring co-production from Jimmy Cauty (The KLF).

First release in Warp’s 1992 - 1994 Artificial Intelligence series that consisted of Artificial Intelligence, Surfing On Sine Waves by Polygon Window, Bytes by Black Dog Productions, Electro-Soma by B12, Dimension Intrusion by F.U.S.E., Ginger by Speedy J, Incunabula by Autechre, and Artificial Intelligence II.

Original gatefold sleeve reconstructed by The Designers Republic.
Album re-cut by Beau Thomas at Ten Eight Seven Mastering on classic black wax.

- Specs 1LP in gatefold sleeve, paper inner and download card insert

Tracklisting:
A1. The Dice Man - Polygon Window
A2. Musicology - Telefone 529
A3. Autechre - Crystal
A4. I.A.O - The Clan
A5. Speedy J - De-Orbit
B1. Musicology - Premonition
B2. UP! - Spiritual High
B3. Autechre - The Egg
B4. Dr Alex Paterson - Loving You Live More

The Club Culture Foundation in Collaboration with Sacred Rhythm Music presents the much-anticipated Joaquin Joe Claussell Progressive Roots a Song for Healing Remix 12inch taken from the successful-highly sought-after Joaquin Joe Claussell Progressive Roots a Song for Healing LP Cat#: SRMLP-1011 with dope art work by Akemi Shimada. This new 12inch features Remixes by Joaquin Claussell and includes a collaborative remix with Ahmee Lim (The Executive Producer of the Progressive Roots Project released on Sacred Rhythm Music. 50 copies of this limited record produced was firstly to commemorate the Progressive Roots a Time for Healing Event hosted at Cosmic Arts Brooklyn New York and has been in heavy demand ever since. Now for limited time finally it will become available.?

Joaquin Joe Claussell Progressive Roots Evolution A song for Healing. Special Twelve Inch Remix Limited Color
Vinyl with Full Color Jacket Sleeve
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For its second release, System of Objects is proud to welcome another British artist: Graham Dowdal aka Gagarin and his debut eponymous album. This 90s ambient techno hidden gem was released as a CD on Graham’s own imprint, Geo Records, in 1997. The album is on par with the genre’s masterpieces such as Sun Electric, Sandoz and Locust, and truly showcases Gagarin ingenious work. Here he explores a wide range of tempos from dark trance-infused techno to melodic ambient bliss, and lush intricate downtempo to intelligent extraterrestrial jungle. This is really a one of a kind discovery, albums like this don’t pop up every day. More

Comprising DJs Hugo Mendez and Frankie Francis alongside The Might Crime Minister, Sofrito has become one of the leading party collectives in the field of Afro, Caribbean and Latin music over the last
three years. From their legendary Tropical Warehouse parties in East London to the clubs and bars of Brooklyn, from beach parties in Greece to festivals and clubs across Europe including WOMAD and
the Big Chill, Sofrito has brought it’s own unique and accessible mix of styles to the world’s dancefloors. Previous guests include Manu Dibango, the Poets of Rhythm, the Souljazz Orchestra, Quantic,
Nickodemus and Nappy G (Turntables on the Hudson), Tropical Treats Soundsystem and Natural Self. With regular releases during the last two years, the Sofrito Specials label champions the Tropical Discotheque sound – mixing up raw Afro flavours with Disco and Latin rhythms. It’s less “world music”, more about some of the best dance music ever made. Their debut compilation for Strut mixes up amazing old and new sounds from cumbia and Congolese guitar grooves to highlife, calypso and descarga for a unique album - a deep selection but an immediate party soundtrack for the casual listener.
TRACKLISTING
VINYL TRACKLIST
A1. Banda Los Hijos de la Niña Luz - Quiero Amanaçer
A2. Les Ya Toupas du Zaire - Je Ne Bois Pas Beaucoup
A3. Victor Uwaifo – Ohue (Frankie Francis & Simbad Edit)
B1. Fair Nick Stars - Arrete Mal Parlé
B2. Adolfo Echeverria - Sabroso Bacalão
B3. El Timba - Descarga Bontempi
B4. Ti Céleste - Popilation Basse-Terrienne au Abois
C1. Mighty Shadow - Dat Soca Boat
C2. Kyerematen Stars - Maye Obi Den
C3. Dany Play - Fa’waka
C4. Frente Cumbiero – Pitchito
D1. Quantic y su Conjunto Los Míticos del Ritmo - Cumbia de Mochilla
D2. Roaring Lion - Carnival Long Ago
D3. Safohene Djeni - Mahu Wo Asie
D4. Gnonnas Pedro - Yiri Yiri Boum More

After Nu Guinea’s LP, Nuova Napoli, and Napoli Segreta first compilation, NG RECORDS follows up with an exploration into the unknown groovy side of Naples by releasing Napoli Segreta Vol.2.
Famiglia Discocristiana, DNApoli and Nu Guinea team up again selecting more tracks from their archives, for a new compilation containing 9 mysterious Neapolitan tracks, found in the most hidden corners of remote flea markets around the Vesuvius.
But forget classical Neapolitan songs, "'O Sole Mio" or "Luna Rossa"... Forget about what you expect to find once you land in town… oh and also forget about Google maps. Take a dodgy local guide, keep your eyes open, and follow it to enter the secret downtown, the underground, the routes that no satellite can detect, but beware there is no easy way out.
Napoli Segreta Vol.2 is a musical journey into the sonic landscapes of Naples that you have never heard of before. A variety of genres merging soul, disco, funk, blues, new wave, afro-beat and boogie, including lyrics in Neapolitan urban slang, instrumental tracks with progressive flavour, and also some unexpected covers!
TRACKLIST:
A1. Antonio Sorrentino – Luna Lù
A2. Tonica & Dominante - Babilonia
A3. Gibo & Pummarola Band – Sexy Pummarola
A4. Ara Macao – Reflection
A5. Tony Verde - Calypso
B1. Maria Kelly - Dimme
B2. Bernardino -Sciummo (Unreleased Mix)
B3. Armando Cusopoli – Non C'è Sole
B4. Tony Iglio – Luci More

An example of globalisation's ultra exoticisms: a Guinean hit that changed the perception of African music in European dance charts (selling over a million copies), covered by a Hongkongese pop star two years later, the perfect recipe for ensuring heavy frothing amongst diggers and collectors worldwide. Besides its aesthetic novelty, it's also highly effective on just about any dancefloor, a theme that sounds so familiar to many but then with the added unexpected surprised factor of the lyrics being sung in a female voice and in Cantonese -- a hard moment to forget on a well helmed club floor. Another generosity of this release amongst the other 3 tracks is a display of heavy Cantonese ballad prowess in the Adult Contemporary landscape, especially with a cover of Gamble & Huff's "When Will I See You Again", huge on the couples' slow dance scene, shameless drama. More

Cut from material recorded in April 2021 at Fish Factory studios in London, the album’s title Abbreviations nods to the editing and post-production processes that trimmed the original recordings into seven succinct and intricate tracks. Making space for collaborators Ernesto Marichales (percussion), Miryam Solomon (vocals) and Valeria Pozzo (Violin, viola), it builds on the critically-acclaimed success of Sound & Reason (supported by Gilles Peterson and Mary Anne Hobbs) to bring out different shades of the group’s shape-shifting sound.

‘Elevator Company’ condenses twenty-minutes of jamming around Tal Janes’ hypnotic guitar line into a low-lit lounge groove that subverts the tropes of elevator music associated with some forms of easy listening jazz. Featuring Solomon’s wordless vocals, the piece blurs the lines between ambient and improvised music, creating a warm and intimate atmosphere reminiscent of classic RnB recordings.

On a different tip, ‘The Spin’ is a trance-like freak-out drawing on the final reserves of energy at the tail end of two days of solid recording. Reflecting guitarist Janes’ idea that "music really starts happening after a while, once you feel like you have nothing left to offer," the hypnotic rhythm section sets the tone for an fraught and frazzled guitar solo that seems to dissolve the very edges of time and space in the process.

An album that speaks to Qwalia’s endless capacity for self-renewal and uninhibited expression, Abbreviations takes its cue from the group’s name to communicate something ineffable about the nature of music, rhythm and sound that must be experienced to be truly understood. More

Tracklisting
A1 Kabay - Amnesia (rework)
A2 Kabay - Dukkha
B1 Kabay - Tribe of Liberation
B2 Kabay - All in
B3 Kabay - Breakpoint Ritual More

Tracklist

A1. Vinicius Honorio - Rathma
A2. Vinicius Honorio - Silencio

B1. Vinicius Honorio - Stay In The Rhythm
B2. Vinicius Honorio - Ominous Music


Almost a year on since his Blueprint Records debut, the London-based Brazilian, Vinicius Honorio delivers the follow-up to "Sem Rumo".
With a storied history in DJing and producing, starting in Rio de Janeiro as a D&B selector before settling into London's techno sphere, the Brazilian producer pens dark and dubby textures. Delivering releases on his own label, Liberta Records as well as the likes of Modularz, Mord, Token and of course, Blueprint he has displayed his penchant for trippy and foreboding techno whilst encapsulating the energy and passion that have come to be synonymous with his style. A style that also permeates his DJ sets which he's taken around the globe.

"Ominous Music" features four hard-hitting Techno tracks characteristic of his style. Released 31 May on vinyl and digitally.
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Tracklisting
A1 P.E.A.R.L. - High Heels
A2 P.E.A.R.L. - Waveform Reversal
B1 P.E.A.R.L. - Organised Confusion
B2 P.E.A.R.L. - Way Back

Sales Note
Falling Ethics is back with their first release since 2019 to present a new vision within the label's background. Label owner P.E.A.R.L. comes back at it with 4 tracks of future proof quality techno. More

With this EP, an attempt is made at documenting the vibrant action happening during the late 1970s and early 1980s in the Pioneer Valley area of Western Massachusetts, US. The story is richer than the snapshot we present here, and a more detailed account is to be found in the accompanying book that can be purchased separately.

The Five Colleges in Hampshire County congregated a vast student population that inevitably interacted with the towns in the area. Bars, music and record stores, live music and a lot of experimentation and free thinking. Hampshire College, especially, promoted new approaches to teaching, subjects that might be considered radical by some even today, although a more favourable context would now surely exist for openly debating such topics as American Indians, Kayak Design, Black Oral Tradition, Food Management, etc. And the music? The immediate "punk effect" motivated the creation of numerous bands, many short lived, others evolving into New Wave / Power Pop territory, eventually crossing into Post-Punk experimentation. What is captured in "Noho EP" is a more electronic disposition, favoured by the existence of EMS gear and other equipment at Hampshire College and University of Massachusetts. We chose to focus on a group of musicians who, for a time, played together in different combinations under the loose umbrella of the Tekno Tunes label and the structure around it.

These musicians come from very different backgrounds and the nucleus portrayed here consisted of Christopher Vine, Elliott Sharp, James Whittemore and Nicholas Brown.

Of the several line-up changes The Scientific Americans went through, it was actually only the duo of Chris Vine and Jim Whittemore who recorded "Among Bodge Watt". Never before released, it is a companion piece to their track "El Salvador" available on the 1981 ROIR tape-album "Load & Go!". The Sci Ams were founders of the Tekno Tunes label and also created the Tekno Tours "concert promotion agency", under which name they exposed local audiences to bands such as The Stranglers, The Slits, Pylon, Pere Ubu, The Psychedelic Furs, The Bush Tetras, Steel Pulse, etc. Their own sound kept progressing but at its best there's a solid dub undercurrent, pretty obvious in "Among Bodge Watt".

Human Error was born out of a collective jam by Chris Vine, Elliott Sharp, Jim Whittemore and Nick Brown. Elliott Sharp had moved to Northampton in August of 1978 and naturally became involved in the local music scene, hooking up first with Whittemore at a hi-fi audio store where he worked at the time. Basement jams followed stimulating conversations, and other musicians joined the sessions. "Clandestinator" sounds gorgeously loose, an effortless groove coming from a quasi-dub set-up. Nothing here seems calculated, the music just flows, contagious and irregular as the handclaps in the mix.

The Higher Primates later evolved into a "proper" band but started as Nick Brown's solo project. The Primates only ever released a (now sought-after) 7" single in 1980 (on the Tekno Tunes label, precisely). Both tracks on "Noho EP" were recorded the following year and never released until now. "Auto Music in the Disco Dub Style" is self-explanatory, with a steady, mid-tempo TR808 beat running through, supporting synth squelches, echoes and reverbs, a fat bassline, dissonant melodic lines and odd vocal snippets. Kind of a DJ tool when the concept was barely in place. The more uptempo "Teresa Variations" adds a Fender Jazz bass and Selmer sax to the electronics. It actually sounds more "Disco", even with the robotic, unintelligible vocals. On top of this, the vibe is sealed by the overall Radiophonic Workshop analogue strangeness applied to a dance beat. More