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Pedro Lima

Recordar É Viver: Antologia Vol. 1

    Pedro Lima was certainly the most iconic singer from Sao Tomé Island. Born in 1944, his career began at teenage, with his faithful band Os Leonenses, who were mostly members of his family and shared most of his musical life; and lasted until his death on January 31st, 2019. Until the very end, he kept performing big events all around the country, and was among the very few singers and bands from Sao Tomé & Principe that recorded in Luanda Angola for N'Gola and Merengue labels in the 70's, and in Lisbon for the essential IEFE imprint in the 80's.

    Respected father of 27 children from 4 different wives, people named him "A voz do povo de Sao Tomé", the people's voice of the island, as he always made very clear his political views on internal affairs and backed since day one the revolutionary party that took power after the independence obtained from Portugal on July 12th 1975. A powerful and free soul, expressing through his beautifully soft and deep voice range, the concerns of the poor, in this often-troubled country.

    His funerals were the biggest ever organized on the island, and were paid for by ex-president Pinto da Costa, gathering thousands to accompany him to his last home.

    His music is wonderfully rich and delicate, though quite minimalistic in arrangements, revealing the subtle melodies of the islands' harmonic and backing vocals traditions, laid on either incredibly energetic Puxa rhythms, or the sweetness of sensual Rumbas.

    Continuing our work on Sao Tomé and Principe with curator DJ Tom B., we are pleased to announce the release of « Recordar é viver - Antologia Vol.1 », the first volume of a retrospective of Pedro Lima’s work. You’ll find here some rare and unreleased tracks from the 80’s when he was at the top of his game.


    1. Ami Cu Manu Mu
    2. Philomene
    3. Inen Mina Fleguedja
    4. Sueste
    5. Meu
    6. Subocha
    7. Balança Cunxença
    8. Non Conveta Quâ
    9. Minha Cutchu
    10. Glavi Funçon
    11. Vida Sá Uâ Só
    12. Floli Xacla

    Various Artists

    La Ola Interior Spanish Ambient & Acid Exoticism 1983-1990

      Following “La Contra Ola” (BJR015), Bongo Joe is pleased to present LA OLA INTERIOR, a compilation exploring the ambient side of the Spanish electronic music produced in the 80’s. It gathers musicians from various horizons and of many generations, who shared the desire to create an immersive soundscape and to combine electronic music with non-Western musical traditions. As a general rule, the Anglo-Saxon tropism did relate the spanish peninsula’s ambient music to the Balearic Sound, that is to say to the relaxing music played in Ibiza’s nightclubs. But this music takes place in the productive territory of experimental musics, and particularly in its two main breeding grounds: the tape recording underground and the independent musicians-producers scene.

      Inseparable from the processes of self-publishing, distribution and exchange of music that were then taking place in Spain in an artisanal way, the vast underground movement of cassettes was divided between an "ethno-trance" combining industrial beats and oriental sounds on the one hand (Esplendor Geométrico, Miguel A. Ruiz / Orfeón Gagarin) and unclassifiable low-fi tinkerers on the other hand (Camino al desván, Eli Gras, Mataparda, Victor Nubla). Hyperactive, this scene is radical and strongly dominated by the hardest musical styles, but the ambient, influenced by the German Kosmische Musik and "krautrock", also develops here.

      The second vein of Spanish ambient comes from some of the independent labels of the peninsula (DRO, GASA, El Cometa de Madrid, EGK) whose activity will mark the return of some of the most adventurous musicians-producers of the 70s. Some were influenced by American minimalism (Luis Delgado / Mecánica Popular, Suso Saiz, Javier Segura), others by Fourth-World Music conceived by Jon Hassell and Brian Eno (Finis Africae, Jabir). Having passed through folk, ancient, traditional or contemporary music, and being familiar with improvisation and studio techniques, these artists come from a mutant hippie culture, capable of phagocyting many musical styles from electronic ambient to ethnic improvisation and modal jazz.

      These two scenes and generations that make up LA OLA INTERIOR intersect around a common interest in non-Western musical traditions. Their exploration may be that of the tribal origins of electronic rhythms or the Arab heritage of Spain. Above all, it is a dreamy exoticism, an immobile journey as the sounds, rhythms or instruments of these traditions are scrutinized by Western practices (avant-garde music, electronic technology). The result is a hybrid music, filtered and reinvented, neither Western nor extra-Western, with a pronounced taste for the fusion of opposites, which we have called "Acid Exoticism" because of its permanent search for trance or contemplation. Atmospheric, contemplative and serial, these musics still plunge us today into a sensorial journey, at the same time interior and distant, organic and technological, between exotic reminiscences and interior visions.

      LA OLA INTERIOR brings together 19 little-known and innovative pieces from the golden age of Spanish electronic music. 


      1. Miguel A. Ruiz - Transparent
      2. Camino Al Desván - La Contorsión De Pollo
      3. Mecánica Popular - Impresionistas 2
      4. Finis Africae - Hybla
      5. Orfeón Gagarin - Última Instancia
      6. Victor Nubla - 20000 Lenguas
      7. Javier Segura - Malagueñas 2
      8. Jabir - Vuelo Por Las Alturas De Xauen
      9. Miguel A. Ruiz - Trivandrum
      10. Mecánica Popular - Impresionistas 1
      11. Finis Africae - Hombres Lluvia
      12. Esplendor Geométrico - Sheikh
      13. Víctor Nubla - Chandernagor
      14. Luis Delgado - El Llanto De Nouronihar
      15. Camino Al Desván - Adjudicado A La Danza
      16. Mataparda - Me Llena La Cachimba
      17. Suso Saiz - Horizonte Paseo
      18. Camino Al Desván - Fock Intimida A Gordi
      19. Mataparda - La Papa Suave
      20. Eli Gras - Flu 

      YĪN YĪN

      Haw Phin / Chong Ky

      “We wrote this song during the quarantine. ‘Haw pin’ is Maastricht dialect for ‘stay strong’, which you can see on a lot of windows at the moment in Maastricht, and we mixed it up because we used the phin lute from Thailand.”


      A1. Haw Phin
      B1. Chong Ky

      Guess What / Porest

      Al Khawarizmi / Hoyda

      Guess What: a transcontinental & interplanetary keys+drums duo, active since 2008; half of which is Graham Mushnik whose organ wizard powers can be heard in Grup Şimşek alongside Derya Yıldırım.


      A1. Guess What - Al Khawarizmi
      B1. Porest - Hoyda

      The Space Lady began her outsider artistry on the streets of Boston in the late 70s, then San Francisco ten years later, playing versions of contemporary pop music with an accordion. Her album 'On The Street Of Dreams' is a charming addition with a gloriously kitsch version of 'Be Thankful For What You Got'!


      A1. Street Of Dreams
      A2. I Had Too Much To Dream Last Night
      A3. Be Thankful For What You Got
      A4. Across The Universe
      B1. Oh, Brave New World
      B2. Radar Love
      B3. The Low Spark Of High Heeled Boys
      B4. I Remember Love

      "June 2017, France. It’s 40° both inside and outside. At Studio Black Box, in the Haut Anjou, it is as if you were there, in Madagascar. And when the tape recorders start rotating, the musicians’ imagination feeds off the guts of their music : Malagasy bush, tropical heat, red dirt, sand, drought, corn, cassava, cockcrow, mooing zebus, lambahoany (fabric), leaf hut, fotaky house (mud), dust, portable generator, music, rhum, bodies frantically dancing whether in the dark or under the blazing sun…Tsapiky.

      The album shall be named "Valimbilo". Bilo is a disease which strikes one’s mental health, depression is what western societies call it. When one is diagnosed with « voany bilo », a precise medical treatment is engaged and performed without doctors, nor medicine. To vanquish bilo, one has to use music. The sorcerer solely decides upon the “good” day (the day which gathers the most positive aspects of the astrological conjuncture) to operate: the extended family hosts a ceremony ruled by many taboos, which can last up to a few days, and in which only one remedy is applied in high dosage : some Tsapiky.
      They are “doctor” musicians whom talent is source of the cure.
      They play for the patient, who has to be facing the orchestra : all of their attention is focused on the bilo, dancing in the sick person’s body : It has to be awaken, seduced, surprised and attacked from every angle before it is pressured, pressured until KO, until it can’t take the it anymore, stuffed with music. Then the patient is relieved, discharged, and the ceremony is over.

      During the entirety of the ceremony, the patient picks a person who helps him/her get the bilo out of his/her system, this is what we call “valimbilo”, literally “husband/wife of the bilo.” "


      01. Malay Nama
      02. Aomby Mazava Ioha
      03. Kalitaky
      04. Bekapamaky
      05. Fiaina Sarotsy
      06. Tsy Miroro
      07. Relela
      08. Mivaliky Tany Toy

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