Nublu Vinyl, CD & Tape 14 Items

Nomade Orquestra is releasing its long-awaited fifth studio album, "Terceiro Mundo". The work goes far beyond music, also representing a journey of resistance, resilience and inventiveness. The creation process began in 2020, during the Covid-19 pandemic and social isolation. With 8 tracks, the album is like a patchwork quilt of sounds, where old ideas have come to life and new compositions have been created exclusively for this project.

Walking quickly through the work, the track "EntreMundos" symbolizes the transition from the second album to this new chapter. "O Nascimento do Sol Invencível" is an expression of faith in tomorrow. In "Peixeira Amolada & Quebra Queixo", the idea is to explore popular stereotypes of the third world, while "Cidade Estrangeira" delves into the cultural diversity of São Paulo. "O Extraordinário Presente" is a breath of freedom and hope, while "Mariposa Tigre" combines influences from funk and reggae, genres very present in Nomade's compositions. "Invasão de Pindorama" reflects Brazil's cultural miscegenation and, closing, "Revolução dos Cocos" is inspired by an ecological revolt that took place in Papua New Guinea - the world's first ecological revolution.

It's worth noting that the track 'O Nascimento do Sol Invencível' uses a sample from contemporary thinker and activist Paulo Galo, who says that "nóis tá armando uma revolução sem falar" / We are starting a revolution without speaking. That's exactly the feeling the record brings".

"Terceiro Mundo" is, from start to finish, an experience for anyone who loves music, cinema and the arts in general. It's a sure bet for lovers of Brazilian music, jazz, rap and a variety of styles brought together in one place. Among the icons who connect with the narratives proposed by the group are Khruangbin, Yussef Dayes, Curtis Mayfield, Arthur Verocai, and John Coltrane.

Active since 2001, Ayyuka was one of the first bands to look back at 70’s Turkish music to find a new voice. Not caught up in the Retromania but reincarnating Turkish Psychedelic within their own style, the band managed to develop an unmistakeable unique sound. Inspirations of Dick Dale, John Frusciante, and local heroes like Erkin Koray, Orhan Gencebay, make their music more guitar oriented but their fascination with film music and improvisation creates unexpected twists within their songs. Right after their eponymous debut in 2007, the band shared stage with Sonic Youth and Jonathan Richman. Heading to a completely instrumental music, their 3rd studio recording “Sömester” had already become a cult album for record collectors. They’ve collaborated with Orlando Julius, Ilhan Ersahin and had guests on almost every album. Their latest full length “Maslak Halayı” was a creative collaboration with Calibro35 genius Tommaso Colliva. The worldwide hype of "Yukadans” will now be followed by their upcoming EP "Zaman Ziyan”, showcasing four brand new instrumental tracks that will transport listeners through a kaleidoscope of musical landscapes, experimenting with techniques of music writing and flirting with genres like afro-beat, funk, dub or arabesque. Save the date for their very first performance of these, live at babylon, as a part of Akbank Jazz Festival.

Oceanvs Orientalis and Ilhan Ersahin first entered each other's orbits by chance at a performance at Turkey's Cappadox Festival in 2018. Oceanvs Orientalis is renowned for his fusion of Eastern musical motifs and traditions with cutting-edge electronica while Ilhan Ersahin has long plowed a unique path uniting assorted musical strains from around the world via an exploratory jazz-improv sensibility. Following two tracks ("Mesta" and "Pire") co-written by Ilhan and OvO and released as collaborations, and two more Ersahin/OvO co-writes ("Revenge Of The Wankers" and "Television") released under OvO's name alone, a fresh and exciting new song called "1980" now heralds a full-length collaboration slated to land in Spring 2024.

Confusion is good sometimes. It’s a way to start thinking about whatever you are confused about. This is what Ilhan Ersahin’s Istanbul Sessions do since 2008. They managed to fire the stages all across the world: from New York to Istanbul, from Paris to Sao Paolo, from London to Skopje... Questions they spread all these years where like: are they really turkish? is this really jazz? doesn’t it sound like a rock band? how come a jazz ensemble can really be like a band? How can they be so able to jam with any musician they meet on stage? And so on... It’s a simple fact Ilhan Ersahin, being one of the rare moguls of New York City underground scene via his club and record label (nublu), is traveling all around the world. It’s possible to see him jamming with Red Hot Chili Peppers in Sao Paolo, featuring Bugge Wesseltoft in Blue Note Tokyo and/or playing a beautiful oriental set with turkish gypsies in an elegant concert hall somewhere in Europe. His newyorker energy is with him all the time. How about Istanbul Sessions then? It’s a summary of all you read above. Master level musicianship meets a high eclecticism where the cliche of “east-to-west crossover” finds its true sense and power. A session is a meeting of a deliberative body to conduct its business. In this case, the business is music, and the music is another heavyweight long player from Ilhan Ersahin & crew. Upon listening to the record for the first time, one word overrides every other emotion and devours the mind: Cinema. More specifically, “cinematic.” Ersahin’s sax sounds like it was recorded in the fucking Alps. Or in the sweeping sand dunes and Oasis’s of the Middle East. It’s just that W I D E. On “Falling,” Ersahin’s sax is practically 3-dimensional. Double tracked and bathed in a healthy dose of reverb, the saxophone and rhythm of the band evoke a story-like narrative. From the mad-man trills strewn throughout the track, to the soaring, almost stadium anthem chorus. Clearly, it’s all about the (s)axe, and Ilhan Ersahin is YOUR axeman. History has a tendency to repeat itself, and for the third time ‘round, East meets West once again. And the results are more satisfying than that mammoth inter-racial orgy you’re always fantasizing of. Through Ersahin’s playing, you can hear the ghostly echoes of dead, pre-war jazz greats behind his frenzy-inducing saxophone playing. You can also hear the Siren’s call, the brooding beauty of the shrouded mystery that is the Desert. Devilishly hot and bothered, the dry night air caresses your face, stirring a primal urge that excites as you step out into the glow of the Turkish metropolis. An Istanbul session, awaits.

Limited edition for Record Store Day 2015!

For the DJs we present a 7" single of Gorjeios b/w Jararaca Snake (Remix)! The a-side, Gorjeios, is a hypnotic blend of Brazilian rhythms and dreamy melodies. Zé Nigro’s ethereal vocals intertwine seamlessly with Arthur Verocai’s instrumental magic. The b-side, a remix version of Jararaca Snake, is a pulsing dub synthesizer journey featuring Zé Nigro’s effected vocals describing his endless quest for knowledge of why we are here.

7" single for the djs of the initial digital 45 of Peixeira Amolada e Quebra Queixo b/w Mariposa Tigre.

Peixeira Amolada e Quebra Queixo
It represents two popular stereotypes common in the third world: the sharp cutting knife and the quebra-queixo, the coconut candy brought from Angola by enslaved blacks. But, playfully, it is also the expression of direct speech and a sharp blow, also as a duo of anti-heroes in search of justice, equality and fraternity. This song also features an element never used before in the band: the guitar. One of the most popular instruments in the world, it provides the basis for the song, which goes through a groove full of counter-melodies that bring that feeling of a cut (hence the name of the song), in non-obvious conventions, and a surprising ending in another time signature. As well as the musical reference for the name, this track represents the struggle that many Brazilians go through every day to have a decent life. You have to have a "sharpened knife" to open the way.

Quebra Queixo
Represents the playful and magical beings of the forest. How can a moth be a tiger? This song carries a lot of the sound Nomade has built up over the course of their career. Strong funk influences, ethno groove, with unconventional brass themes and a very jazzy accent. Halfway through the song, another of the band's very strong references comes to the fore: reggae, more precisely ragga, which makes the song even more danceable. Finally, a convention from the whole band brings the song to a grand end, making you want to listen to it again.

Entitled Silêncio, the new album is due in September and will arrive as a natural continuation of the first, featuring songs
that had been left out as well as those that were part of Nigro's shows with the band. "The songs have come to life. Today
I feel more confident about doing my own thing, more assured. I want to propose this listening to silence, to the hidden
subtleties that are revealed in existence", he concludes.

Recording the first album was a personal adventure with an uncertain destination. Apocalip Se embodies this feeling of
conducting an internal investigation, a rediscovery from the inside out. On the new album, the image on the cover is about
being open, with your hands absorbing the outside, feeling the power of nature reflected in its greatness," Nigro reflects.

"I always woke up at 4 a.m. to the sound of a variety of birdsongs, and I kept thinking 'what are these birds saying? Do
they even think about us?'". The artist then composed the instrumental part with his guitar and sent it to the poet Eveline Sin
suggesting this theme, and she responded years later, at the time of the recording of Apocalip Se. The song was formed in
several movements, also bringing together pianist and partner Dustan Gallas, with a new arrangement featuring more than
20 musicians, taking the new version to another level of interpretation. As for the construction of the melodies, Nigro reflects:
"I think the voice is an instrument, a fascinating harmonic instrument". In addition to producing for numerous well-known artists,
such as Russo Passapusso, Francisco el Hombre, Curumin, and Anelis Assumpção, onalbums that have marked the history
of independent Brazilian music, Zé Nigro has used his role as a singer as a long experiment in self-knowledge.

Ladies and Gentlemen, meet Jogo Duro, a collaboration between Ilhan Ersahin and some outstanding São Paulo musicians Guizado, Ze Nigro, Samuel Fraga, Chicao & Tony Gordin who also happen to be great friends. These are players who will be familiar to those following the careers of Céu, Otto, Curumin, Tulipa Ruiz and the late, great Gal Costa. This record is the result of the amount of time Ilhan has spent in São Paulo over the last decade due to putting on the Nublu Jazz Fest there every year. With all the contacts, connections and friendships formed over the course of making an annual music festival happen, musical cross-pollination (usually simply referred to as "jams") was inevitable but this time it was decided to do it in a studio with tape rolling rather than on stage, which is certainly a more productive approach than merely talking about it over beers at a local bar!

Everything happened fairly spontaneously over three days in the studio, everybody brought songs, ideas and creative energy and before you know it an album was born.

Oceanvs Orientalis and Ilhan Ersahin first entered each other's orbits by chance at a performance at Turkey's Cappadox Festival in 2018. Oceanvs Orientalis is renowned for his fusion of Eastern musical motifs and traditions with cutting-edge electronica while Ilhan Ersahin has long plowed a unique path uniting assorted musical strains from around the world via an exploratory jazz-improv sensibility. Following two tracks ("Mesta" and "Pire") co-written by Ilhan and OvO and released as collaborations, and two more Ersahin/OvO co-writes ("Revenge Of The Wankers" and "Television") released under OvO's name alone, a fresh and exciting new song called "1980" now heralds a full-length collaboration slated to land in Spring 2024. The track's title hints at a certain nostalgic bent while still keeping its gaze firmly fixed on the future even as it evokes sun-drenched good times gone by. The single adds several extra versions, one of which spotlights the multi-instrumental mastery of Darkside's Dave Harrington while the other features the mesmerizing vocal stylings of Gaye Su Akyol. This single is the perfect soundtrack to the waning days of summer and truly whets the appetite for the full-length project these musical wizards have been busily concocting.

Rocket Sci is a band on the move. No, really, they are! With drumming duties split between two master drummers who both play standing up and permanently mobile, they are capable of being Pied Pipers leading their audience on a literal shamanistic journey down the street. Kenny Wollesen and Dalius Naujo, the two rhythm kings in question, are rounded out in the lineup by bari/alto sax veteran Jonathon Haffner and guitarist Tony Scherr and the sound the four create is strangely hypnotic and immensely accessible, leaving the listener with infectious themes and melodies ricocheting around the brain. Creating these sounds comes naturally to these gentlemen as one glance at each of their impressive and lengthy big-name resumes will attest (Snarky Puppy, Jack DeJohnette, Tom Waits, John Zorn, Sean Lennon, Bill Frisell, Norah Jones, John Lurie, Laurie Anderson...etc). But the issue here is not glory-by-association, it's the creation of glorious music in and of itself, and Rocket Sci have an incredible head start on that. Their album "Bond Riviera," to be released by Nublu Records later this year after a sequence of pre-album singles, will be all the proof anyone needs.

"On their first album as a trio, these jazz-rooted musicians create a luxurious atmosphere drawing from funk, krautrock, and noirish electronica." Andy Cush / Pitchfork "this is project is sick. Love the tunes, you definitely capture a hypnotic fusion of like smoking hash in a dangerous alley in Tangier, but also a very trippy laid back and louche LA cool.” Jeff Weiss With drummer Kenny Wollesen (Tom Waits, John Zorn, Norah Jones) and Dave Harrington (of electronic duo Darkside) guitar/bass/electronics, New York-based Swedish/Turkish saxophonist, composer, club-label owner Ilhan Ersahin captures the vibe of impromptu, cross-pollinating, and heavily grooving late-night jam sessions at Nublu, his “East Village Club where everything goes” (New York Times). The telepathy and intuition that flows between these three musicians is one that has developed over many years of playing together in different combinations, and on a permanent regular basis at NYC's Nublu, searching and creating together in the moment. What they have come up with has evolved steadily over that time and its current form can be heard to brilliant effect on their debut album “Invite Your Eye” (2022). The exploratory instrumental space-jazz these gentlemen purvey has many antecedents and influences but perhaps it's best not to cite names and instead let the music speak for itself.

Haliç is the first opus of the 6th studio album of Ilhan Ersahin's most touring project Istanbul Sessions.

"On their first album as a trio, these jazz-rooted musicians create a luxurious atmosphere drawing from funk, krautrock, and noirish electronica." Andy Cush / Pitchfork

"this is project is sick. Love the tunes, you definitely capture a hypnotic fusion of like smoking hash in a dangerous alley in Tangier, but also a very trippy laid back and louche LA cool.” Jeff Weiss (Washington post, LaLand, Spin)

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With drummer Kenny Wollesen (Tom Waits, John Zorn, Norah Jones) and Dave Harrington (of electronic duo Darkside) guitar/bass/electronics, New York-based Swedish/Turkish saxophonist, composer, club-label owner Ilhan Ersahin captures the vibe of impromptu, cross-pollinating, and heavily grooving late-night jam sessions at Nublu, his “East Village Club where everything goes” (New York Times).

The telepathy and intuition that flows between these three musicians is one that has developed over many years of playing together in different combinations, and on a permanent regular basis at NYC's Nublu, searching and creating together in the moment. What they have come up with has evolved steadily over that time and its current form can be heard to brilliant effect on their debut album "Invite Your Eye"

The exploratory instrumental space-jazz these gentlemen purvey has many antecedents and influences but perhaps it's best not to cite names and instead let the music speak for itself. This sound and approach comes as naturally to them as breathing, hence the album title which is also the title of the first single.