Latin | Brazil 284 Items

Limited to 200 copies, HHV Exclusive, red vinyl.
Heroes Of Limbo rework two hip-hop staples with stunning afrobeat arrangements. Eric B. & Rakim's 'Don't Sweat The Technique' and Pete Rock & C.L. Smooth's 'They Reminisce Over You (T.R.O.Y.)' are stripped to their instrumental essence with polyrhythmic drums and percussions, powered up by a massive big band brass section and going bonkers altogether. A sure shot double-sided winner for all DJs that want to leave their crowd guessing whether they're taken to the streets of New York or to the Shrine in Lagos, Nigeria.

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!

Eurorack tweaker, 8-bit master, king of carnival madness, Dutch producer Solo moderna is back with his female alter ego singer Krage, for some 80s flavored, chiptune infused, electro-latin bangers. Unofficial Electo-Funk anthems? Sweaty remakes from outta space? who knows.. the only unquestionable thing here is that loads of fun await the crowd when dropping this tasty 7” on the turntable. Certainly not your average tropical music, though.

This double sider stands as a foretaste for the album release in May 2024, that will unite this pair in a perfect fusion of Afro-Latin rhythms and modern synth pop.

“Leão Leonardo” and “Guajiru”, here gathered in an exclusive 7-inch record, represent the first two steps in a journey that will lead to the Spring 2024 release of the new album by Toco, a Brazilian singer-songwriter with a unique sensibility and taste. “Leão Leonardo” is a very heartfelt and engaging song that constitutes a homage to a childhood friend, a tribute to a deep and everlasting bond, as well as a return to a place very dear to Toco: the Guarapiranga water reservoir near São Paulo in Brazil; it is mainly inspired by two great samba jazz masters, Jorge Ben and João Donato. “Guajiru”, a classic sambarock track inspired by Orlandivo’s swing and Jorge Ben’s sensuality, explores the more romantic side of Toco’s multifaceted style and tells of a fleeting summer love in northeastern Brazil, where the indigenous fishing village of Guajiru, on the coast of the state of Ceará, is located. As the whole new album, both “Leão Leonardo” and “Guajiru” have been recorded at Schema Records’ Blue Spirit studios and produced by Stefano “S-Tone Inc.” Tirone, who skillfully captured the spirit of these tracks and elaborated the essence and energy of their songwriting. Both of them see Toco’s alluring voice masterfully surrounded by an ensemble of exceptional musicians: Donatinho (keyboards), Tuca Milan (percussion), Ramiro Levy (guitars), Edu Hebling (bass), Mauro Martins (drums), Priscila Ribas (vocals), Gianluca Petrella (trombone), Mirco Rubegni (trumpet) and Marquinho Baboo (percussion). This 45rpm is therefore a tasty appetiser for an album that we expect to be unique, just like Toco’s style!

Although perhaps not a household name like Sergio Mendes, Marcos Valle or Flora Purim, Bororó is considered to be one of the most important and talented Brazilian musicians of his time. Taking his moniker from the indigenous people of his country, who live in the state of Mato Grosso, Bororó steadily built his career for well over a quarter of a century, along the way performing live and in the studio with such legends as Gal Costa, Milton Nascimento and Caetano Veloso.

Limited edition 7" vinyl of "La Mujer Serpiente" on the A side and "Selam (Bass Mix)" on the B side.
La Mujer Serpiente/Cumbia Serpiente is the 1st single from Earthtones' upcoming LP on Wonderwheel. This collaboration with longtime friend & co-producer, Oliwa, features vocal delivery and heartbreakingly beautiful songwriting by Colombian Canadian artist/singer, Lido Pimienta. Behind the live cumbia rhythms, bass synths, analog keys, 808 drums & guitars, the vision of this track is one of upliftment of womxn and femmes everywhere.

Selam is a vision of peace. This collaboration between producer/DJ Earthtones and Ethiopian musician/vocalist Etsegenet Mekonnen features haunting vocals sung in Amharic.
Analog & semi-modular synths combine with 909 drums and afrobeats percussion by Earthtones, to weave grooves for Etsegenet's depth in songwriting, voice and soul. The main version has a dancehall bassline that calls one to movement, while the dub versions evoke mystery amidst long modulated leads + filtered pads.
Selam enezra ahunim (let us sow peace).
Electronic

You know that long hot days are fast approaching when it is Brazilian music that you crave. Thankfully the Scruniversal has got us covered with a second release that is as scorching as the first. It pairs MPB, samba and Latin flair with hard-edged hip-hop and funk stylings across a pair of tunes from Scruscru, each one a different collaboration. The first is alongside Tony Lavrutz and has gorgeous vocals and organic percussion paired with cut-up beats and jazzy keys that will ignite any floor on 'Rave Du Brazil.' It is Los Protos's jazz funk groover 'Primavera' that gets the good vibes going on the flip.

Unas cumbias pesadadas brought to you by Discos Resaca.

A collaboration between The Bay/West Coast and Mexico Cumbia Powerhouses! Back again is the OG Deuce Eclipse along with the Discos Resaca crew teamed up with el maestro Robin Revilla of Grupo Maravilla Y Discos El Papi This 45rpm includes “Tírate la Chancla” and “Quiero yo Cumbia” on the flip side, Puro sabor tropical y Cumbia Trap.

The latest Mariposas Del Alma single "La Oaklandesa" a tribute to the Cumbia scene in Oakland/Bay Area. Also features "La Morena Sonidera" with Philthy Dronez & Wilson Posada on vocals y Ivan del Acordeon laying down the melodies. Puro Sabor Sonidero!!

This electric compilation features Sorg who showcases his house inspiration, Zerolex Trio who continues their journey into the world of jazz-infused club music, Kopow who blends kenyan trap with silky beats by collaborating with Killer Bas, and Flow-er who engages in a funk-imbued discussion. As an exclusive combination of unique and exciting artists, Los Cumbabas will fit perfectly in your summer playlist. It's also an opportunity for the label to unveil Pierre Chiffonnier, our flagship project, involving the sweet melodies of the young duo Poligone.

Glorious Various Artist on the beloved Legofunk Records. Moving sensations for an always pleasant vibe!

Released in 1961 this was Elis Regina's debut album. A first and already distinctive statement from an extremely talented teen from Porto Alegre who later became a star and who's now remembered as one of the greatest Brazilian vocalists of all times. Regina's vocal range and singing versatility shine in the wake of a varied track list based on different ingredients and flavors, from Pop songs through vibrant Afro-Cuban grooves and Jazzy Sambas. The whole album is a treat!

"Vente pa'cá" started with an afro-funk groove made by Jah Sazzah who has produced Dub, Reggae & a recent Deep Global Electronic album for Turntables on the Hudson called "Horizons." When asked for a possible vocalist, Nickodemus made some edits & mixes and sent it to Colombian vocalist Jimena Angel who quickly put her signature vocal style in as a catchy chorus saying "venue pa'cá" meaning "come here." Jimena has been on recent Captain Planet album with a hit song "Pambelé" as well as releasing many Latin/ Electronic / Alternative singles the past few years. The song's afro disco funk feel then got a heavy Caribbean style four to the floor Poirier remix with an entirely different melody for the dance-floors. Poirier is best know for his remixes & modern Afro-Caribbean productions & has a strong selling album on Wonderwheel Recordings called "Soft Power."

Jacques Renault draws inspiration from the rich heritage of Latin Underground music, Renault embraces the vibrant rhythms, soulful melodies, and irresistible beats to create a captivating soundscape that bridges the gap between eras. He weaves together a collection of handpicked Latin Underground Classics, each chosen for its historical significance and cultural impact. With great respect for the original compositions, Renault breathes new life into these hidden gems, preserving their authenticity while crafting alluring edits that speak to contemporary audience

Japan goes to Africa ! It's more than a bit ironic that Tak Shindo's most "exotic" album, the superb Mganga!, boasts no connection to his own Japanese heritage, instead focusing on the primal rhythms and tribal chants of Africa. Rooted largely in the arranger's experience on the Latin jazz circuit, its Afro-Cuban rhythms, sampled animal sounds, and chants capture an African musical culture based far more in fantasy than reality, much as rival exotica maestros like Martin Denny and Les Baxter conjured interpretations of the Far East driven by suppositions and daydreams. Shindo documents an Africa informed by libraries and dancehalls, not first-hand experience. That said, Mganga! is vibrant and intoxicating, with a rhythmic intensity quite uncommon for its era. For an artificial experience, it packs a genuine wallop.

Exotica masterpiece finally re-issued ! Which record is produced by Martin Denny, arranged by pianist Paul Conrad and features vintage Exotica's second lady who is only outclassed by the Peruvian chantress Yma Sumac? It's Exotic Dreams, released in 1958 that puts – so tells the cover artwork – "the enticing voice of Ethel Azama" (1934–1984), a Hawaiian Jazz singer, into the spotlight. Martin Denny discovered her a few years later and was able to negotiate with his house label Liberty Records, which granted Azama the opportunity to release one LP on which Denny also provides the liner notes (on a side note, Jimmie Rodgers succeeded with his negotiations as well, granting Azama a contract for a second LP in 1959). Exotic Dreams is one of those superb records that live up to the hype due to both the beautiful voice of the singer and the exotic arrangement alike, causing the listener to execrate the missed opportunities of releasing further material, as Azama faded into obscurity shortly thereafter despite her obvious talent, various gigs in Hawaiian and Australian night clubs and her recurring role in the 70's TV series Hawaii Five-0.

New Parisian label, Disques Messager, presents its new and second release. As its name suggests, the label has a simple leitmotiv: to place itself among the best messengers for rarities and sought-after gems of the international rare groove. A mission which began like fire last year with a 7inch reissue release including two Brazilian Disco bangers by Cristina Camargo. For this second efforts, the label doesn’t deviate from the artistic and quality path taken, however also making quite a U-turn, this time presenting 2 underrated kind of musical UFO, both from the French scene. Not many info can be found about Yoanson & Karamie, two young artists from the French African diaspora, who randomly met with Nessim Saroussi and his label Ness Music in the late 80s. Nessim himself doesn’t remind much about the 2 guys, except that he quickly offered to produce them, which resulted in their only EP release, Kalimba (1988). Part of this EP, “African Leaders” is a stunning track melting Afro-Tropical percussions, Disco bass, Early-Electro beats and Leftfield vocals in a way that could remind of Doctor L or Arthur Russel productions. On the contrary, Philippe de Lacroix-Herpin (aka Prof Jah Pinpin) has a long musical career started in the mid-70s and became a renowned saxophonist playing and recording for many famous French acts such as Jean-Jacques Goldman, Alain Chamfort, FFF, or even rap band NTM. In 1994, he moved definitely to the Reunion Island where he quickly launched the Prof Jah Pinpin 4tet, in his own words willing to play “free/funk/jazz/rock/tropical” music… Quite a vast and large musical tag, but which immediately make sense when listening to the surprising “The Final Bird” track. Only released as CD in 1996, this instrumental production has indeed a unique sound and flavor mixing all kinds of elements together (even samples of Weather Report). Well as you can understand, words are not the best way to describe these 2 hidden treasures, so we strongly recommend the spinning to make your own view!

Compiled by Sean Marquand and Greg Caz, 2 DJs well-known for their epic parties at Williamsburg’s legendary Black Betty club, that sadly closed in 2009. The duo played a deep variety of strictly vintage samba, samba-rock, Tropicalia, and Brazilian funk under the banner of ‘Brazilian Beats Brooklyn’.

Sean is known as half of Embassy Sound Productions. He took his team to Brazil to help resurrect Black Rio legends Uniao Black for a new release. Greg has DJ'd at some of the hottest Brazilian parties around the globe and presents a monthly radio show ‘Warm Wave’ on Soho Radio NYC.

Featuring Noriel Vilela’s singular “16 Toneladas,” a sublime cover of the Tennessee Ernie Ford smash “16 Tons” with a spare samba groove and unbelievable baritone vocals and hot jams from Tim Maia, Erasmo Carlos, Joao Bosco, Toni Tornado.

Included in this compilation of original 60's and 70's Brazilian gems are some of Greg and Sean's favourite tracks that have been filling dancefloors for years.

DINTE's survey of folk music traditions in Northeastern Brazil, originally broadcast on NTS Radio in 2019, becomes the latest to be committed to cassette as part of their 10th anniversary series. It specifically focuses in on the spur-of-the-moment improvised "duelling" poetry of the repente, embolada & aboio styles that are unique to the Nordeste region.

Guyana folk music reinterpreted and infused with Afroroots and culture, reissued on vinyl for the first time. A year after their debut album ‘Ojinga’s Own’, the Yoruba Singers from Guyana released the singles ‘Black Pepper’ and ‘Basa Bongo’. These two songs were recorded in Barbados and released on the Green Shrimp label and became extremely popular throughout the Caribbean and South America. The music also became an integral part of the very beginnings of what was later to become the Champeta Criolla sound in the Caribbean coast of Colombia.

Death Is Not The End presents a collection of haunted, brooding flamenco recordings taken from the early 1900s through to the late 1930s.

Latin Afrobeat band whose debut LP "Bailalo Duro" was released at the end of 2020 has been the talk of the town. The Nkumba System, led by former Romperayo guitarist Guillo Cros, is now available on Okra!! Both sides are from completely different sessions and were not included on the album "Bailalo Duro". Guillo Cros was a guitarist in the band of Cameroonian music veteran Mama Ohanja before joining the Romperayo. The sound that this wandering French guitarist has created in Bogota with Colombian musicians such as John Socha, who was also a bassist in the Romperayo, is a hybrid groove of Afro-Latin and Latin music from the vintage tropical music revival onward that is distinctly different from the Afro-Latin music of the past. While based on traditional Cameroonian and Colombian rhythms, it also incorporates Afrobeat, champeta, and a touch of psychedelicism to create a strong dance sound that was not possible before.

Ferdinand "Maréchal" Papillon was part of the makossa wave that moved from Cameroon to France and across the African diaspora in the 80s and 90s, bringing the sounds of rhythms of Douala and Yaoundé to the clubs and dancefloors of Paris. Although best known for his Sakissa style - his own uptempo take on the makossa of Cameroon - Papillon also regularly featured zouk and reggae influenced tracks on his albums, combining Caribbean and African influences into a unique sound that has stood the test of time."Moulongo" originally appeared on Papillon"s highly sought after 1995 album "Homme fort....je suis sérieux" and was recorded at Studio de la Madeleine in Paris. The Moulongo session features a who"s who of the Paris scene of the time - Aladji Touré and Toto Guillaume from Cameroon as well as Congolese guitar greats Ngoma Lokito and Nene Tchacou - and combines dancehall, zouk and makossa elements for a pan-African dancefloor sureshot.

Introducing the next release in Names You Can Trust's long-running collaboration with the prolific and symbiotic musical universe of Bogotá, Colombia. Mau Gatiyo y Los Años Maravillosos formed in 2021, arising from the very same fertile ground of the Teusaquillo neighborhood that has spawned many records and musical mischievousness. At the heart of this experimental movement is what can only be described asTropicanibalismo, where a deep hunger for the roots of Colombian tropical music are only satiated by dissecting it, consuming it and ultimately creating something new again as some kind of untraditional, unholy, and yet referential form of musical sustenance.
Within this concept, there's a clear lineage of inspired and visionary artists that have been featured throughout Nyct's record catalog for the last 15 years that includes luminaries Frente Cumbiero, Meridian Brothers, and Romperayo. Each of these artists' tentacles have touched several parallel projects from their talented neighbors and friends, and whether through production, playing, engineering, or mixing, these collaborations have heavily contributed to a very fruitful and colorful scene that could only exist within Colombia's capital, while also gaining notoriety in the nooks and crannies of northern latitudes like New York, Chicago, and Los Angeles.
Mau Gatiyo, a talented accordian player and vocalist, together with his group (translated as The Wonder Years), is precisely one of these projects, a collective that has found their calling in the echoes of thevallenatosandcumbiasthat once populated the nation's airwaves throughout the 20th century. It's a traditional format that has always lent itself to storytelling, whether it be anecdotes about daily life, or using one's voice to raise uncomfortable questions in protest against the system. This is where Mau Gatiyo's poetic, almostnew wavetimbre finds a lane of its own, straddling a 2020s societal landscape under the guise of ostensibly old-time accordion music.
The debut 7-inch from the group, an excerpt from their recently released album Baño Unisex, was recorded at Mambo Negro studios by Ivan Medellin (La Sonora Mazurén) and mixed by Eblis Alvarez of Meridian Brothers, both familiar names and contributors to the Nyct catalog. Alvarez himself, who has emerged in recent years as an international beacon of this new tropical avant-garde, is no stranger to flipping traditional styles on their head, or at least respectfully off-kilter. Mau Gatiyo y sus Años Maravillosos proves to be another great vessel for this veryBogotano expression, draping the classical playing of its group members in a modern day cosmopolitan expression of righteousness, both outwardly in their dashing, performative fashion sense, and lyrically with their cheeky "420, Reloj"ganja-tune promotion – or even their outward dissenter objections to paramilitary and firearm power in "Poder Militar."
Ultimately, these songs lie at the crossroads where two cultural eras connect and become something unique, a protestation one with performance, dance, and artistic expression. This cathartic ritual of protest has a storied history in music, and these two new entries into the Nyct catalog will hopefully find their place amongst a modern day canon, or at the very least, have your feet moving and your head nodding in just approval.

Imagine for a moment that Arthur Russel had learned to speak Brazilian and then moved to Italy to produce an Italo-Disco single back in 1984. There's a good chance it would sound like the Dub version of the B side on this record (Remixed by Bob One). A percussive foundation channeling Latin Freestyle beats sets the groundwork for the chill sunset vibed melody to pleasantly unfold intertwined with the alluring Brazilian lyrics. The recording engineering on this production is clearly at a higher standard (than the usual neighborhood italo disco studio from back in the day) with some of the techniques at play giving it a very balanced and sophisticated sound for its time. The meticulous remastering this re-issue underwent allow for a generous low end with crystal clear mid range – game changing on any well calibrated dance floor sound system.

The next release in the Mr Bongo Cuban Classics series, is one of Juan Pablo Torres' most-known and loved albums, the iconic Super Son from 1977. A wonderful record of tripped-out rumbas, psych-Afro-Latin funk and quirky orchestrated tracks with a big band horn section courtesy of Torres’ band, Algo Nuevo.

As well as being the director of Algo Nuevo and Cuban all-star ensemble Estrellas De Areito, the trombonist, bandleader, arranger and producer also released a wealth of albums under his own name predominately on the state-owned imprint Areito/EGREM.

Post-revolution, there was a contrast in Cuba’s musical world. State censorship was at play, but professional musicians were on the government payroll which gave them an artistic freedom. Experimentation emanated in the ‘70s and ‘80s and Super Son is a prime example of that. ‘Y Que Bien' kicks off the album taking you down a tripped-out, cosmic rabbithole, psych guitars and skat vocals opening up into a joyful funk groove laced with jazzy Afro-Cuban horns stabs. Tracks such as 'Pastel En Descarga' seem to come out of nowhere and are completely unique. Fuzzed-up guitar lines and percussion lay the groundwork, with those jubilant horns adding to the energy of this forever building track.

Elsewhere, there’s the ‘70s TV theme-tune feeling of 'Con Aji Guaguao', a playful funk number that boils and bubbles with blistering trombone playing by Torres. Or ‘Son A Propulsión' and ‘Son Riendo’, two more brilliant examples of psychedelic funk, wrapped up in a blanket of Afro-Cuban rhythms. The former sweeping you up in rushes of wind as trumpets, trombones and distorted guitars trade off, the latter, an intergalactic fiesta of tradition and exploration.

Super Son is up there as one of the funkiest Cuban records around, a playful fusion of ideas from a producer, player and group on fine form and, for us, one of our favourite gems to come out of Cuba in this period. A sheer masterpiece.

Next up in the Mr Bongo Cuban Classics series is an outing by the mighty Juan Pablo Torres from 1978. Released on Cuba’s state-owned Areito imprint, Algo Nuevo showcases trombonist, bandleader, arranger and producer Juan Pablo Torres' unique scope of sound. A melting pot of an album that weaves together jazz-funk and traditional Afro-Cuban genres with tripped-out synth touches and dancefloor grooves.

The opener 'Pan Caliente' is a fiery celebration, combining a driving groove with Latin percussion, feverish horns and infectious “la-la-la” vocals. The wild, squelching cosmic synthlines give an otherworldly touch to proceedings that sit nicely on a modern dancefloor. 'Guajira 2001' is perhaps Juan's future-focussed take on the vibrant style of Cuban dance-led music called guajira. Blistering bongos, congas and claves moving together with trumpets, trombones and twanging acoustic guitars that you can’t help but bounce to.

Other highlights include, 'Cacao', a Cuban cosmic funk strutter that places the claves upfront, with a scatting vocal line and percussive climax reminiscent of George Kranz electronic disco anthem 'Din Daa Daa' from 1983. Elsewhere, 'Elvira' further showcases the psychedelic essence of many of the album’s tracks. A deep Latin workout where tasty percussive breaks and scorching keys blend with trippy vocals and rumbling synths.

A varied album encompassing a variety of Afro-Cuban genres and rhythms entwined with flashes of mind-bending cosmic influence. Algo Nuevo is a further jewel in Cuba’s musical crown of riches, with plenty of dancefloor treats and downtempo numbers held within.

Announcing the debut album from one of London’s most electrifying acts, New Regency Orchestra. An 18-piece Afro-Cuban big band, inspired by the musical melting pot of NYC in the 1950s, but with the punch and power of a whole host of London’s best Latin and jazz musicians. Blowing new life into these compositions, the album is a reimagining of some of the finest music from that golden era. From early 1950s René Hernandez and Tito Puente, through to the 1970s salsa of Rafael Labasta and Orlando Marin, produced and performed with fresh fire.

NRO is the brainchild of its artistic director, and the man behind Total Refreshment Centre and Church of Sound, Lex Blondin. Through a long-held passion for jazz, Lex discovered the explosive Afro-Cuban rhythms of mid-1940s NYC via the godfather of Afro-Cuban jazz, Mario Bauzá. A time when two musical worlds collided in a fusion of creativity and energy, jazz luminaries like Dizzy Gillespie and Charlie Parker joining forces with Cuban greats like Machito and Chano Pozo. This vibrant sound was music to dance to and found a home at The New York Palladium, a formative space of freedom and expression that was key to the scene’s development.

Although dance-focussed in their makeup, those early recordings are not often heard in modern club environments and Lex dreamt of retelling their story with a contemporary dynamism. A slice of serendipity followed, as a slot at a new festival opened up and Lex jumped at the chance to make this idea a reality, an 18-piece big band breathing new life into these beloved songs.

Enlisting the expertise of some of the capital’s finest talent, Lex and co-captain Andy Wood, of Como No fame, put together a world-class line-up of talent. Bringing in Eliane Correa as musical director and bandleader, a fluid and interchanging 18-piece band was formed.

The album itself is a hand-picked selection of timeless Afro-Cuban jazz classics, reimagined with NRO’s unbridled energy. It contains ten incredible instrumental tracks including 'Pregon' with its anthemic horn stabs and the addictive head nod bounce of 'Mambo Rama', alongside two scorching vocal numbers in 'Papa Boco' and 'Labasta Llego'. Coupling a heavyweight rhythm section with a wall of horns, they provide a fresh spin on songs from Tito Puente and Chico O'Farrill, René Hernandez through to Rafael Labasta.

“Some of the tunes like Tito Puente’s ‘Mambo Rama’ and ‘Scarlet Mambo’ might sound like they went to a gym as extra drums and bass synth were added to them whilst the tune ‘Sahib & Tito’ is a mix of Tito’s ‘Mambo Buda’ and Sahib Shihab’s ‘Nus’. Our intention is to be both respectful to the innovators and inventors of this incredible music and to pay our dues, but also to add something special from London where the city’s new jazz scene connects with its Latin American musicians and the musical influences around us.”

This pure collective joy, shared experience and music you can’t help but move to.

For the next reissue in Mr Bongo’s Cuban Classics series, we look to Raúl Gómez’s entrancing 1977 Instrumental album. Presenting a unique blend of orchestral disco and jazz-funk, with Afro-Cuban flavours and soundtrack influences, it’s rich with drum breaks, energy and evolving compositions. A record that forever keeps you guessing, powered by an exemplary orchestra at the top of their game.

Cuban composer and singer Raúl Gómez is most known for featuring in the groups Mirtha Y Raul and Los Bucaneros alongside producing the Cuban classic Los Reyes 73 album, amongst a whole host of other incredible productions over the years. Released on Cuba’s state-owned label Areito, Instrumental sees Gómez not only as an instrumentalist and author, but also as a producer and arranger.

It's an album that deftly evades pigeonholing. Floating between instrumental mood music and library/soundtrack mastery, followed by explosions of cosmic-Latin funk, psych guitar workouts and compositions that reflect the orchestrated disco coming out of the US at the time, from greats such as Love Unlimited or Mfsb. Lace that together with a healthy serving of Afro-Cuban magic to underpin the tracks and it’s a recipe for a record that captivates from start to finish.

Predominantly an instrumental album as the title suggests, the record showcases the Orquesta Egrem in full flow, soaring strings and vibrant horns at every turn. Highlights include 'Mi Samba Carnaval' with its breathtaking drum break, bubbling synths and sublime arrangements and the romantic film music impressions of ‘Tema De La Sierra', that have been a sampling source for many a producer. Elsewhere, ‘6 Son’ is a mind-melding psych guitar powerhouse, with 'Dacapo', written by Gilberto Peralta, offering up a slice of atmospheric and energetic Latin shuffle. One of only a handful of tracks where scat vocals compliment the orchestral tones, a Brazilian percussion theme marries with dancefloor sensibilities for a dose of feel-good, brilliance.

A wide-ranging, multi-dimensional release, Instrumental exhibits musicianship, composition and creativity at its finest and demonstrates another key example of the rich output of music that flowed from the island of Cuba post revolution.

The definition of the word 'fado' is technically 'fate', though the Portuguese meaning bound up with this term is more complex. The music itself can be fairly closely compared with that of Greek rebetika - also the American blues or the original working-class tango music of Argentina and Uruguay - and similarly takes it's common subject matter from the various cruel realities of the world. Though perhaps what distinguishes fado in character is it's often poised acceptance of the pains of life rather than protestation or resistance - as writer Paul Vernon says "It speaks with a quiet dignity born of the realisation that any mortal desire or plan is at risk of destruction by powers beyond individual control"
Death Is Not The End compile here a spine-tingling collection of fado recordings, taken from records issued in the mid 1910s through to the 1930s. The fado's Lisbon and Coimbra variants are presented here by some of the music's earliest recorded stars - prior to the rise of the music's all-conquering figurehead, Amália Rodrigues - and all of them "fadistas" imbued with a keen dose of saudade.

Maria do Carmo - Beijos São Como as Rosas (1929)
Jose Paradela D'Oliveira - Fado de se Velha (1927)
Edmundo de Bettencourt - Crucificado (1929)
Madalena De Melo - Cantares (1930)
Luiza Baharem - Fado Mondego (1931)
Alberto Xavier Pinto - Fado Do Paraizo (1929)
Maria Victória - Fado Maria Victória Nº 1 (1914)
Maria Silva - Fado Alice (1929)
Adelina Fernandes - Misérias (1928)
Estêvão Amarante - Fado do Cauteleiro (1929)
Alfredo Marceneiro - Olhos Fatais (1936)
Ermelinda Vitória - Fado da Minha Aldeia (1930)
Dr. Lucas Junot - Triste (Fado) (1929)
Maria Alice - Quando o Meu Filho Adormece (1929)
Laura Santos - A Magia do Fado (1929)
Joao Rocha Jor - Fado Rocha (Unknown)

`La Camita' is an incredible Latin funk nugget -recorded in Peru by Traffic Sound and later on by funk pioneers Black Sugar, comprising all the right ingredients to shake dance floors worldwide. Both takes on the song were released on records that today are extremely difficult to find in any condition. In 1971 Traffic Sound recorded 'La Camita' where their Latin influences overpowered the psychedelic prog vibe of their previous records. The song became a local hit and several versions were recorded by different Peruvian artists. On the other side of this single we find Black Sugar, a Peruvian band considered to be a pioneer group in Latin America in mixing funk influences with rock and Latin rhythms. In 1976, following their gig at Coliseo Amauta in Lima, opening the night for the legendary Spanish band Barrabás, they started to show a growing interest in disco music, resulting in some line up changes with members leaving the project due to their lack of interest in the new sound and new ones joining in. Their own take on 'La Camita' was released in 1978 and adds a modern twist to the original song, becoming decades later a winner spin at the most discerning dance floors worldwide. Latin party music in all its glory!

For the second 12” of the series Far Out has enlisted two of the most on-fire producers in Germany: Max Graef and Glenn Astro, along with one of the UK’s brightest ascendant producers.

Tito Puente's classic 'Guayaba' has been recorded by so many artists over the years and these two covers by Sonora de Lucho Macedo and La Logia Sarabanda are undoubtedly among the best ones. Here you are two proper dance floor shakers for the tropical heads out there, recorded under the influence of the early 70s Latino rock sounds, reissued on a 45 for the first time. Our series of tropical 45s aimed to shake up the dance floors presents two incredible versions of one of the best songs ever composed by maestro Tito Puente: Guayaba. In the late 1950s, rock'n'roll shook the foundations of music in Peru, and orchestras rushed to cover hit songs and explore the possibilities of mixing them with tropical music. Lucho Macedo followed this trend, even many years later. In 1972 his version of 'Guayaba' was published, combining elements of the emerging Chicano rock sound, popularized internationally by bands like Santana or Malo, blended with a Latin flavor loaded with elements of mambo, son montuno, boogaloo... Timbales and distorted guitars shaking hands in this very dance floor friendly version. La Logia Sarabanda would arrive all the way from Rio de la Plata but -despite their origin- they'd release their records exclusively in Peru and Mexico. Their only single opened with another very interesting version of 'Guayaba' that highlights the sounds of fierce and psychedelic guitars while keeping the Latin essence of the original song.

Nil's (Jazz) Ensemble, the band fronted by jazz musician, arranger and composer Nilo Espinosa, jumped on the bandwagon of recording covers of international hits under the name Sangre Joven. This 1975 single is loaded with tropical infused funky and disco sounds: 'Zamba, Zamba' is a true-to-the-original version of Elkin & Nelson's 1974 chartbuster; classic balearic vibes! 'Lindo Caballito', on the flipside, is a boogaloo dance floor number with an extra Latin rock and jazzy descarga touch. Once resettled in Lima, Peru, in 1974 after spending some time playing in a jazz quintet in Berlin, sax player Nilo Espinosa would put together the Nil's Jazz Ensemble, a top-notch array of local talent. They recorded one single album (1976) that remains not only as one of the grails for collectors of Latin-American jazz but also as an outstanding piece of music on its own. Most of the line up of the ensemble were also part of Sangre Joven, a side project to release covers of international disco and funk hits for Discos MAG. A full album and a single were released under that moniker in 1975. 'Zamba Zamba' is a true-to-the-original cover version of the song 'Samba Samba' by Colombian brothers Elkin & Nelson, who moved to Spain in the 70s and recorded a couple of albums with the famous singer Juan Pardo on the production duties. Classic balearic vibes! 'Lindo Caballito', on the flipside, is an uptempo Latin track for the dance floor that had been previously recorded by Enrique Lynch and Grupo Ecuación. It includes elements of descarga and boogaloo but with a funky rock twist.

Moar is back with his Badlibs, this time covering a track composed by legendary producer Jay Dee aka J Dilla. This time the Badlibs are joined by pianist Floriant Pélissier, who covers the main theme on piano, accompanied by Elisabeth Jutel (Double Françoise) on backing vocals and Jean-Louis Potin on saxophone. Moar is behind the MPC to produce and arrange the track, while he entrusts his long-time friend King Most (SF / Usa) with the task of remixing it for an explosive Samba version. The artwork is by the young and talented Arthur Zupashaf, and the logo by friend Eno Kruger.

The summer 2023 offering from Discos Mas is a blast from the past updated in typical Los Disco Duro fashion with vocoder vocals, live cumbia percussion and synthesized everything else. Nobody will admit to actually liking the Macarena, yet, without fail, everybody does the dance and sings along to the chorus when it comes blaring out of nightclub speakers. This little 7” life preserver will certainly keep djs from drowning should they find themselves in troubled waters. The B-side is an original electro composition with reflexive yet lighthearted lyrics about dancing dancing dancing to the tiny music in the discoteca heat. Minimal electronic 909 beats and a bassline inspired by enemy Automazeon laser fire from Atari’s Berzerk perfectly balance with the vocoder vocals resulting in pure retro bliss.