soundtracks . library music . exotica . easy


Genre pick of the week Cover of Houmous Pous Tous by Unouzbeck & Venturi.

Unouzbeck & Venturi

Houmous Pous Tous

French duo Unouzbeck & Venturi make their vinyl debut with a pair of psychedelic disco groovers for the already essential Ostra Discos imprint. Following the lead of De Los Miedos, the producers dive into the dusty crates at the back of an Istanbul poundshop and pilfer a couple of choice cuts to season and serve. On the A-side, "Manjula Doll" sees les amis in proper snake charming mode, looping a mysterious bassline and some souq shaking percussion into a hypnotic groove that'll hold you transfixed. The ever present organ drones away nicely before some interdimensional synths prompt a well deserved dancefloor freakout. On the flipside, "Mumbay Disco Sensation" whirls us into the impassioned frenzy of the ceremonial dancefloor via a collection of organic percussion, vocal chanting and wah guitar. As the track gains momentum, the echo-laden lead hints at dub, before a killer sitar riff lifts us to another level. A superb debut from the Frenchmen, and another must have release from Ostra Discos.

In 1949, Luzmila Carpio was born in the rural town of Qala Qala, Bolivia. It was there that her earliest musical experiences -  and the genesis of her unique voice - shaped her decades-long career writing and performing Quechua music. In Bolivia, though more than 36 indigenous languages are spoken by nearly 40 percent of the population, the only officially recognized language of state was Spanish until September of 2000. The social, political and economic stigma that came with identifying as Quechua was keenly felt throughout Luzmila’s formative years, though the tide began to shift in the late 1960s. At age 15, Luzmila joined the group Los Provincianos and has continued to make music ever since. Her distinctive musical style comes from her impossibly high upper register that oftentimes mingles so closely with the timbre of a quena flute: “In my community, among us, we sing like that - very high. It’s the tradition in our area that I further developed while trying other styles or ranges as my voice allowed. In October of 1992, Luzmila began working with UNICEF on the Yuyay Jap’ina campaign for adult literacy. The designers of the Yuyay Jap’ina project commissioned recordings by Luzmila. that featured local musicians performing both traditional Quechua songs and those specially composed by Luzmila. Many of the songs take a pedagogical approach; they testify to the importance of clean drinking water (Ch’uwa yaku kawsaypuni, “Crystal Clear Water Is Life”), the self-actualizing power of literacy (Riqsisqa kasunchik, “We Will Be Recognized”), and the self-assertion of women (Warmikuna yupay-chasqapuni kasunchik, “Women, We Have To Be Respected”). But looking at the Yuyay Jap’ina tapes as a set of instructional songs would be only the narrowest interpretation. Taken in context, the songs are a bold celebration of language and culture. Luzmila Carpio currently lives in Paris and continues to write and perform her songs around the world.

Death And Vanilla

California Owls EP

    4 track EP cut at 45rpm on green vinyl. 1000 copies worldwide.

    “Sweet psychedelic pop from your new favourite Swedes.. nocturnal track, California Owls is hypnotic, this is dream pop at its absolute best.” i-D

    “Our dreamiest pick this week… "California Owls," pairs reverb-soaked vocals with a harpsichord-like synth that sounds like sunlight filtered through water.” NPR

    “California Owls” could almost be Beach House. At least until it descends into a two-minute cascade of bird noises. Enchanting stuff.” Loud & Quiet

    “Nilsson’s vocals bob in an ocean of reverb on ‘California Owls’ evoke everything from Czech cinema soundtracks to The Velvet Underground channelled through their uniquely distorted lens” Clash

    “California Owls,” a tidy three and a half minutes of airy-pop gorgeousness followed by two more combining chirping birds and tones reminiscent of a distant calliope amidst the reliable retro-futurism.” The Vinyl District

    Following the success of their critically acclaimed ‘To Where The Wild Things Are’ released in May, Death And Vanilla return with EP ‘California Owls’ EP, featuring two non-album tracks. Forming in Malmö, Sweden by Marleen Nilsson and Anders Hansson, Death and Vanilla utilise vintage musical equipment such as vibraphone, organ, mellotron, tremolo guitar and moog, to emulate the sounds of 60s/70s soundtracks, library music, German Krautrock, French Ye-ye pop and 60s psych. They revel in the warmth of older analogue instruments to create a more organic sound, each loose wire and off-kilter noise adding to the rich atmosphere. Creating deliciously enticing soundscapes, full of moody moogs and breathless vocals, their influences are as diverse as their music.

    Passionate about the culture of the 60s/70s, Death And Vanilla have the retro-futuristic edge of Broadcast with Stereolab leanings and the electronic library sounds of the BBC Electronic Workshop. Opulent and timeless, ‘California Owls’ is a reverb soaked spectral-pop song drenched in 60s-psych while the dark and swirling melodies of ‘Follow The Light’ has a ‘Walk Away Renee pace’ (Guardian). Their new EP brings together old songs with the new, much like the samples and the instruments they use, whilst capturing the haunting and wild dreamy experimental edge of ‘To Where The Wild Things Are’.

    The Kitchen Cinq

    When The Rainbow Disappears: An Anthology 1965-68

    * Compilation and notes by Alec Palao
    * Includes The Kitchen Cinq’s complete LHI sessions, comprising the Everything But album and non-LP singles as well as rare sides by the act’s earlier incarnations as The Illusions and The Y’Alls
    * Fully remastered audio with three previously unissued cuts
    * Extensive liner notes featuring interviews with Cinq members Jim Parker, Mark Creamer, and Johnny Stark, along with manager Tom Thacker and producer Suzi Jane Hokom

    Lee Hazlewood’s LHI flagship group, The Kitchen Cinq, had everything but one elusive factor: success.

    Formed as The Illusions (and briefly The Y’alls) in Amarillo, Texas, the group blended garage punk with killer harmonies and a slight sense of the absurd. Picking up steam locally in the mid-‘60s, the members started to think about cracking it on a bigger scale, and, in 1966, moved to LA. “Almost immediately upon arrival, we auditioned for Lee,” says guitarist/vocalist Mark Creamer. “He said, ‘Deal.’" Another of Hazlewood’s coterie, Suzi Jane Hokom, was charged with producing the group, making her a de facto female pioneer in the industry.

    By 1968, The Kitchen Cinq issued a total of five impressive singles and one album, Everything But. They recorded a surprisingly vast amount of material, all of which is collected here. Their version of The Beau Brummels' "Still In Love With You Baby" was a regional hit in many cities, but they were still chasing a big hit, and the LA dream was wearing thin. In the end, the industry burned them out: the endless gigging, the radio spots, the long journeys–including an ill-fated East Coast tour that required them to drive from LA to Florida in three days. “I think LA ate the Texas boys; I really feel that way,” says guitarist/vocalist Jim Parker.

    The group split in ’68, and the members spread off into bands including Them, rock outfit Armageddon and, eventually, careers in studios. One–temporary member J.D. Souther–has a recurring role on the popular soap opera Nashville. The Kitchen Cinq was just a springboard for each of them, but listening to these overlooked works of beat-pop brilliance, you can’t help but wonder why it didn’t work out for the Texans at the time. Their songs–all of them–live on in this anthology.

    Various Artists

    Psycho Brazil - CD Mix By Dom Thomas

    Dom Thomas' NN Tapes goes digital with a series of strictly limited CD versions of his previously cassette-only compilations. Limited to just 20 copies for the World!

    The "Musical Dr Frankenstein" Dom Thomas is back with a psyched out journey through the lucid tones of the Tropicalia movement mangled with the pre cursing Jovem Guarda rock and soul music.

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