Latin | Brazil Vinyl 427 Items

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.”

Names You Can Trust presents the debut release from Netherlands-based group Lola's Dice, an ensemble born and battle-tested by years of punk and hard rock before fusing into its current form, a consolidated tropical-rock rhythm machine. Fueled in equal parts by the group's South American roots in Venezuela and Chile, and the creative freedom of their long-time home in Amsterdam, the band's evolution has resulted in music that is a pure body-moving delight — a fuzzy blend of guitars, synths and musical sabor that is very much rooted in the percussive sounds of Latin America, yet still comfortable in its punk-ethos vandalization of tradition and status quo. Helping to guide the band in this first studio recording is the talented touch of percussion maestro and engineering wiz Alex Figueira (Fumaça Preta, Conjunto Papa Upa) at his Barracão Sounds studio in Amsterdam. The resulting 4-track EP is a perfect match of genre-defying psychedelic madness and Caribbean cool.

If the first album from Venezuela’s Los Calvos, despite its greatness, could be considered to have a varied sound, then this second, and lamentably final, album found them creating a signature sound with the musicians given free rein and a stronger push to the dance floor, this is música bailable personified. The drum kit was instrumental to their image and sound; it was an instrumental unusual in salsa at the time. So much so that their own drummer Frank “Pavo” Hernandez had said disparagingly that “salsa with a drum kit is like pasta with avocado”. Kudos then to “Pavo”, along with fellow drummer Alfredo Padilla, who seamlessly integrated the instrument into the line-up, allowing its heavy hits to add energy and power to the group’s sound; just listen to the drum solo in “Suenan Los Cueros” and you will be in no doubt that it was a genius move. Vocal duties throughout are split evenly, five tracks a piece in fact, between Carlos “Carlín” Asicio Rodríguez and Carlos “Calaven” Yanes. It is Calaven who surprises the most, his mischievous delivery and ability to improvise and scat placing him in the higher echelons of vocalists, and not just within salsa. “José”, which is also a showcase for bandleader Ray Perez to free wheel on the piano, is a perfect example of Calaven’s ability to enliven any descarga (jam) with unexpected vocal turns; but then, even on the album’s original single “El Moño De Maria” he shows that with a few variations on the chorus, he can elevate any song. His partner in vocals, Carlín, is no slouch either, leading the driving “Tiene La Razón” with ease and showing that he can get down and dirty on the percussion-heavy “El Tumbeleco”, guiding the song through to its pulsating conclusion. Perez was one of Venezuela’s finest bandleaders, also helming the legendary Los Dementes, Los Kenya and others, and he brings a number of famous friends and allies to the party. Professional lucha fighter turned composer Gustavo “El Chiclayano” Seclén contributes the playful “El Marciano y Yo” (“The Martian and Me”), which allows Calaven plenty of opportunity to improvise, his imitations of intergalactic beings a wonderful thing, with what sounds like the rim of a wine glass being used to create Mars-esque special effects. You can also hear Perucho Torcatt, a regular collaborator of Ray Perez’s in Los Dementes, adding his voice throughout the album. ...Y Que Calvos! is not for the idle, it’s an album which does not allow you to sit down. Powerful, inventive and abundant of rhythm, it’s everything you could want from a salsa album, and a fitting way for Los Calvos to sign off their far-too short career. Perhaps now it will finally get its dues as a lost salsa classic.

"Ésta sí es salsa!" is one of the most sought-after records in the impressive catalog of the Discos Fuentes tropical all-star group Los Corraleros de Majagual.The record is high on collectors' want lists for many reasons: excellent sound quality, diverse and highly danceable repertoire infusing its grooves, and the inclusion of the Cuban genres of descarga and charanga. The album includes outstanding cover versions of '60s New York salsa but featuring the unusual sound of the accordion and the heavy bass playing of Julio Estrada.First time reissue."Ésta sí es salsa!" is one of the most sought-after records in the impressive catalog of the Discos Fuentes tropical all-star group Los Corraleros de Majagual. It was released in 1970, nine years after the band was first conceived by Alfredo Gutiérrez, Calixto Ochoa and label boss Don Antonio Fuentes as an orchestra to play mostly typical folkloric Colombian genres like porro, cumbia and paseo and the occasional guaracha or pachanga, but with a fully orchestrated big band sound that combined the accordion with a complete rhythm and brass section.The record is high on collectors' want lists for many reasons, not least of which is its excellent sound quality and the diverse repertoire infusing its grooves, ranging from expected coastal tropical Colombian rhythms like paseaíto, paseo and pasebol (all related to cumbia and vallenato), to more exotic modes like sonsonete, casatschok, and the Cuban genres of descarga and charanga.There was never any doubt with the label's intentions of introducing this "new" genre of salsa on this LP, albeit as seen through the lens of Colombian musicians only recently converted to the movement, and indeed, the title unequivocally proclaims: "¡Ésta sí es salsa!" ("This is definitely salsa!"). The proof is in the fascinating (and long) cover versions of Nuyorican artists from the burgeoning Big Apple salsa scene that are the centerpiece of the album. Two massive dance tracks on the record are 'Ocho días' and 'Am...

The newest psychedelic space ranger Cumbia band from Bogotá's infamous DIY scene have been sent to earth to save the party! Los Cotopla Boyz make the walls sweat, they set fire to your feet on the dance floor. It all started in Bogotá, which you might say is the tropicanibal venue par excellence, a place that has brought life to acts like Frente Cumbiero, Los Meridian Brothers, Romperayo, Chúpame el dedo, Dub de Gaita, Los Pirañas, Onda trópica and León Pardo, among other eccentricities that have taken the world and stand out not only for their virtuosity but also the connection that lives between that salvaging of traditional folklore and lysergic futurism that expands hypnotically around the world. From this musical hotbed that emerged in the second decade of the new millennium, there is now a new generation to continue the tropicanibal scene, with groups such as La Sonora Mazurén, La Tromba Bacalao, Los Yoryis, El Conjunto Media Luna and, of course, Los Cotopla Boyz, a five-piece that formed in Bogotá in 2018 but inhabit a post-pandemic dystopian multiverse where their mission is to save the party. So their live performances have that illusion of frantic Power Rangers singing about their adventures, as if these were epic chants, except instead of heroic feats they sing with humor about their everyday lives. Mamarron, Vol. 1 consists of seven millennial cannon shots inspired by Los Mirlos, Los Hechizeros Band, Anan, Wendy Sulca, La Sonora Cordobesa, Bad Bunny, Yandel and Los Corraleros de Majagual.The tracks were laid down on their debut record that saw the light in 2020 in the middle of the pandemic and are now re-released in 2022 by ZZK Records imprint AYA records and being pressed on vinyl. The vinyl album also will include the bonus track "El Peruanito" remixed by Colombian producer Santiago Navas. Los Cotopla Boyz are a sweaty, schizophrenic cumbia experience that has been witnessed by emerging Bogotá clubs like Matik-Matik, Boogaloop, El Chamán, Tejo Turmequé, Videoclub and the festival Herm...

From Costa Rica, Los Cuchillos, a garage punk band that have their path already well defined in the garage punk scene. This is their first ep on Groovie Records, not the last for shure. This tracks are super killers and really shows what the band came for... Limited to 300 copies. 100 of them coloured.

Los Diablos Rojos are known around the world for a unique tropical sound that has transcended passing fashions and managed to hold its own in an era marked by transience and oblivion. Today we present Ritmo Satánico pressed on black vinyl.

Introducing the human vocals of LAS Gemelas Diamante for their first time on vinyl, LOS Disco Duro is back with a hard hitting vocoder rendition of the cumbia classic “Chambacu.” The B-side offering is a slow, intense, cumbiafied version of the ‘80s Art of Noise hit “Moments in Love.” Pressed on stunning purple vinyl, this limited edition record is a release you do not want to miss!

Los Fulanos, Barcelona's champions of Latin Soul, are back on wax!
Miguelito Superstar, co-producer along with Manuel Dabove of their celebrated debut album, "Si esto se acaba, que siga el boogaloo", has crafted two electrifying versions that are pure fire. 'Why Don't We Do Some Boogaloo?', already a local classic, is paired with a take on New Order's legendary 'Blue Monday', which is transformed into a nearly unrecognizable Latin Funk powerhouse.
Both tracks receive special treatment, Miguelito has unearthed some key breaks from the original sessions and pushed the rhythm section front and center, making this 7" a must-have for you know who.
Latin Soul para que baile la gente!

Los Guapos Sensibles are back with their first release in over 3 years! The new record delivers a Cuban Son turned sonidero banger on the A-side and a unique cumbia version of Santo and Johnny’s “Sleepwalk” on the flip. This release is destined to find a place in the crates of DJs and the homes of collectors before long.

This limited edition 7" collects three unreleased tracks from the recording sessions from Los Mambo Jambo's third album, Jambology: ‘Cayo Diablo’, ‘El Último Shimmy’ i ‘Experiment In Honk’. It was published on June 20th to support the campaign 'Salvemos Las Tiendas De Discos' (Save The Record Stores) promoted by Record Store Day Spain.

Discodelic and Groovie Records present two incredible singles / amazing finds of musical archeology. Four recordings made in Panama in the 70s and lost in time, we finally managed to license these Latin Psych Funk gems through Tamayo Records in a deluxe limited edition. These four groups Conjunto Raza, The Meditators, The Scepters and Los Misticos, were groups that barely recorded a single, which were only used for radio stations and forgotten in warehouses, they represent the most underground and forgotten Panama!