Colombian artist DFRA links with some of Argentina's finest musicians for a high-class mix of 90s and 00s deep house and a wide array of proper jazz stylings to this new EP on Deeppa, a well-formed young label that will soon hit release number 10. 'Sal Marina' kicks off with shuffling beats and nu-jazz chords that make you want to move, while both 'Green Line' and 'Manits' showcase some superb melodies over more percussive, busy beats that have a great sense of movement. 'Brown Sugar' then gets a little deeper with its withering cosmic lines and heartfelt vocals and the main man Atjazz works it onto something even more potent before 'Sal Marina (Lay-Far Remix)' closes down with a timeless soulful house vibe.

TRACK LISTING

Sal Marina
Green Line
Manits
Brown Sugar
Brown Sugar (Atjazz Remix)
Sal Marina (Lay-Far Remix)

Nicholas Bicycle is Nick Bike when in music mode and his next ride takes him deep into the world of the Queen of Soul. Once there he turns out a pair of crucial remixes that will slip right into the upper echelons of your collection. Up first is his take on Aretha's Tramp classic 'A Lil Respect' which comes on strong with more heavy and floor-ready drums. Flip it over and you will find 'A Step Too Far Away' which goes from early evening soul to a nice early evening stepper to get the crowd in the groove.

TRACK LISTING

A Lil Respect
A Step Too Far Away

Twin Cities duo Feel Free Hi Fi return to their in-house imprint Digital Sting with their first full length entitled “I was so far in I was out.” After two prior EP's and collaborations with Equiknoxx and Duppy Gun Feel Free Hi Fi deliver 8 new tracks of their distinct but eclectic digital dub. Amalgamating many of the sounds, sonics, and aesthetics of prior releases into these eight percussive instrumentals. The industrial dub and weirdo dancehall remain but the focus is further refined while also exploring environmental and cinematic sounds to create often dark and heavy versions that are as singular as they are collective, as introverted as they are expansive.

The records come in double sided silk-screened printed custom DJ Jackets, with Obi Strip style stickers and hand stamped white labels created and printed by Digital Sting.

TRACK LISTING

A1. Blood
A2. Gateless Barrier
A3. Spring Rain
A4. Triton
B1. Marauder
B2. Vexed
B3. Digital Tomb
B4. Computer Paul

THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.



IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.

Reissue of the influential Californian post-hardcore band's first album for Immortal Records/Epic in 1996.
Reconstructed artwork for vinyl by Simon Tripcony.
Mastered for vinyl by Jan Oberg at Hidden Planet, Berlin.
Manufactured at Matter of Fact, Germany.
FFO: Deftones, Quicksand, Hundred Reasons, early-Biffy Clyro.

TRACK LISTING

01. What I've Wanted To Say
02. Love, American Style
03. In The Aisle, Yelling
04. Girl
05. Seasick
06. Job's Eye
07. Punchdrunk
08. Celebrate Her
09. Boring Life
10. Joining The Circus
11. Cut-out
12. Sorrow's End

Typifying the consummate craftsmanship of the three members' performances - each with such distinct personality and together so perfectly balanced - their perfectionist attitude to sound is maintained across the production on the album, beautifully colouring the expressionist fusion of samba rhythm, jazz progression, funk attitude and psychedelic electronics.

The album hosts a wonderful mix of tempos and styles, from Alex Malheiros' earth- shaking slap- bass on 'Dear Limmertz', which was to become a hit on London's underground disco and jazz-dance club scenes alike, to the late maestro Jose Roberto Bertrami's genial melodic Rhodes excursions on the vocoder laden, samba-jazz masterpiece 'Un Amigo', while Ivan 'Mamao' Conti's signature swing on 'Maracana' exemplifies the root of Azymuth's 'samba doidoi' (crazy samba) philosophy.

The two cover versions on the album consist of the title track which was originally penned by Milton Nascimento and Chick Corea's '500 Miles High', both of which magically reimagine the originals and further demonstrate the immense virtuosity of this cult recording. This Far Out Recordings release is mixed and mastered from the original tapes

TRACK LISTING

1. Papasong
2. Outubro (October)
3. 500 Miles High
4. Maracana
5. Pantanal
6. Un Amigo (A Friend)
7. Dear Limmertz
8. Dear Limmertz Prelude
9. Carta Pro Airto (Letter To Airto)

Funkyjaws Music launches a new edits series here with four absolute dons of the form on one vital 12". It's Lay Far that kicks off with 'Never Ever Edit' which is all horn-led excitement and upbeat disco claps and kicks before Admin's 'Moon Trippin' takes a more slow and soulful approach. When it comes to edits few are more essential than Chicago's Rahaan who kicks off the B-side with 'Gonna Get Ya', a leggy funk number infused with cosmic synth rays and warm piano chords. Delfonic shuts down with the loose percussive jumbles and jazzy vibes of 'Let's Dance The Spank'. A fine start to the series with volume two already in the works.

STAFF COMMENTS

Mine says: High octane disco-house sunshine here from four major players. Let's Dance sets out their stall in fine style.

TRACK LISTING

Lay Far - Never Ever Edit
Admin - Moon Trippin
Rahaan - Gonna Get Ya
Delfonic - Let's Dance The Spank

Recorded at his home studio in Los Angeles (2020) the album is fundamentally the sound of a man alone with his instruments.
Utilizing a variety of guitars, including 6, 7 and 10 strings, Oktav guitar and electric baritone guitar, alongside a host of pedals and synthesizers, Fabiano tracked imagined landscapes with expressive, expansive improvisations, which tend toward the more ambient and atmospheric reaches of his recent output.

Adopting Hermeto Pascoal's concept of Universal Music, a rejection of nationalistic tendencies in order to express all of one's musical influences all at once, Fabiano avoided leaning too heavily on any particular musical language, without denying his own musical roots.

After studying classical piano as a child, the Rio de Janeiro native discovered the guitar aged 10. Studying under his late uncle, Lucio Nascimento, he eventually left Brazil for LA, where he soon became an in- demand player for his distinct and authentic sound. He has since released seven albums under his own name and collaborated with renowned Brazilian artists including Arthur Verocai and Airto Moreira, as well as experimental US saxophonist Sam Gendel.

Mundo Solo (Do Nascimento's eighth), was recorded in one take per track, with occasional overdubs and a few appearances from collaborators and friends Julien Canthelm (drums on Etude 1), Ajurina Zwarg, (percussion on CPMV) and Gabe Noel (Bass on Curumim).

Fabiano Do Nascimento's consummate mastery of his instrument has afforded him a freedom of expression few can claim. Blending the emotional with the elemental, Mundo Solo is a stunning snapshot of solitude and the beauty which can blossom within it.

TRACK LISTING

A1. Abertura
A2. Curumim 2
A3. Paperstrings
A4. Agua De Estrellas
A5. Bari
A6. Etude 1
A7. Meianoite
A8. Reflections
A9. Coisa
B1. Coisa 2
B2. CPVM
B3. Txaii
B4. Tempo
B5. De Manha
B6. Dormenor

Chicago’s Magic Touch label gets the Numero Group treatment. Available for the first time ever on 7”, Boogie Holy-Grail “Too Far Gone” has been “Too Hard To Find” on the second hand market since first introduced to the masses via the legendary cratesmith Mark Grusane of Mr. Peabody Records. Rare Groove Windy City Disco at its finest sliced, diced and remastered for maximum dancefloor potential. 

For fans of: Aldous Harding, Khruangbin, The Weather Station, War on Drugs, Kali Uchis, Perfume Genius, Cate Le Bon, Sade, Lucy Dacus.

Meernaa’s So Far So Good travels perfectly with a glistening night out or a drive to a secret hideaway. It exists somewhere between R&B, jazz, psychedelic rock, art rock, and pop. As a genreless artist, it mirrors her constant struggle to balance a vibrant day to day of falling in and out of love, writing and recording music at her studio and the intensity in the back of her mind - her familial struggles concerning death, drugs, and instability.

Meernaa’s previously released singles “Another Dimension” and “On My Line‘’ introduce a celestial and soulful album. The weather of these songs is varied, the poetry shifting its winds from tender playfulness to desire. Amelia Maher of The Line of Best Fit called Bond’s imagination “as intriguing as it is beguiling and mysterious.”

Part of a blooming Los Angeles music scene, Carly Bond is a studio engineer and partner at Altamira Sound Studios. As a session and touring guitarist she’s worked with artists such as Luke Temple, Jerry Paper, Helado Negro, Sam Evian, John Vanderslice, Nilüfer Yanya, Benny Bock, and Miya Folick.

After a successful EP and debut album, Carly of Meernaa is releasing her first album with Keeled Scales and Secretly Distribution.

Incredibly produced, crystalline vocals, slyly intricate guitar and rhythm, and moody dynamic take on familial addiction, love, love lost, and the impact of the changing of the seasons/the earth’s impact on the creative soul. Has toured with Helado Negro, Nilüfer Yanya, Sam Evian, and Miya Folick.

Breakout track “Good Luck” generated over 3 million streams on Spotify.

Doug of Brijean (Ghostly Intl) is part of her band.

TRACK LISTING

SIDE A:
1. On My Line
2. Another Dimension
3. As Many Birds Flying
4. Mirror Heart
5. Black Eyed Susan
SIDE B:
1. I Believe In You
2. Framed In A Different State
3. Bhuta Kala
4. So Far So Good
5. Love Is Good

During the latter half of the seventies very few came close to emulating the success of the productions of Joe Gibbs and Errol Thompson. 'The Mighty Two' took the greatest of Kingston's musical and technical innovations and transformed the cutting edge into a commercial proposition that crossed over to the rest of the world. 'Under Heavy Manners'' was an essential purchase as well as a defining statement on the sombre mood of the times in the year that two sevens clash and forty years after its original release, the raw reality of 'Under Heavy Manners' continues to hit home.

TRACK LISTING

LP Tracks:
Rain A Fall - Prince Far I
Big Fight - Prince Far I
You I Love And Not Another - Prince Far I
Young Generation - Prince Far I
Shine Eye Gal - Prince Far I
Boz Rock - Prince Far I
Show Me Mine Enemy - Prince Far I
Shadow - Prince far I
Deck Of Cards - Prince Far I
Heavy Manners (album Mix) - Prince Far I

CD Tracks:
Heavy Manners - Prince Far I
Rain A Fall - Prince Far I
Big Fight - Prince Far I
You I Love And Not Another - Prince Far I
Young Generation - Prince Far I
Shine Eye Gal - Prince Far I
Boz Rock - Prince Far I
Show Me Mine Enemy - Prince Far
I Shadow - Prince Far I
Deck Of Cards - Prince Far I
Heavy Manners (album Mix) - Prince Far I
Tribute To Michael Holding - Prince Far I
Same Knife - Prince Far I
Equal Rights And Justice - Prince Far I
Best Dress - Prince Far I
Emmaanuel Road - Prince Far I
Johnny Reggae - Prince Far I
Deck Of Cards (Four Aces Mix) - Prince Far I
Heavy Discipline - The Mighty Two
Deck Of Cards Version- The Mighty Two
Different Dagger- The Mighty Two
Tasty Geezer Version - The Mighty Two
Rock Stone Version - The Mighty Two
Heavy Bowling - The Mighty Two

Renowned Italian spiritual jazz master, DJ, producer, guitarist, and bandleader Nicola Conte proudly presents his new album Umoja via London based label Far Out Recordings.

A joyous exultation across ten tracks, Umoja taps into the abundant well of knowledge Conte has amassed over his career as connoisseuring compiler and archivist of deep jazz, latin, afrofuturist, bossa-nova and soul music from around the world

Expressing unity, oneness and harmony in Swahili, Umoja coalesces universal feelings through the multifaceted global music Conte has spent his life studying and researching.

Having released music with Blue Note, Impulse! and Schema records, Nicola Conte's relationship with Far Out began over a shared love of hard-edged bossanova and swinging samba-jazz. Between 2009-2013 Nicola Conte compiled five volumes of forgotten 60s Brazilian music for his Viagem series. He then released his critically acclaimed Natural album: a collaboration with vocalist Steffania Dippiero, featuring jazz standards alongside covers of lesser known Brazilian gems.

The music of Umoja draws on the deep-dug 70's independent spiritual and free jazz sounds, private-press soul records, and African and Afro Caribbean rhythms in Conte's collection. But he equally recognises his debt to many of the decade's more celebrated musical icons, such as North American cosmic jazz masters Lonnie Liston Smith and Gary Bartz, and Afrobeat originators Fela Kuti and Tony Allen.

Since founding the Bari-based bohemian cultural movement and club night Fez at the dawn of the nineties, Conte has proven to be a pillar of the contemporary, international soul-jazz scene. Composed alongside his long time friend, guitarist Alberto Parmegiani, Conte brings together a dazzling host of guests from around the world, including award winning British vocalist Zara Mcfarlane, acclaimed Finnish saxophonist Timo Lassy, french vibes player Simon Mullier, US vocalist Myles Sanko, rising South African drummer Fernando Damon, former Roy Hargrove bassist Ameen Saleem and Serbian flute sensation Milena Jancuric.

Proudly revivalist, Umoja was recorded direct to analog tape, with just two takes for each track.

TRACK LISTING

1. Freedom & Progress
2. Arise
2.1. Soul Of The People
2.2. Heritage
2.3. Flying Circles
2.1. Umoja Unity
2.2. Life Forces
2.2.1. Dance Of Love & Peace Part 1
2.2.2. Dance Of Love & Peace Part 2

Emotional Rescue looks to the newly rebuilt but still very much culturally separate East and West Germany of the 1980s with this new EP. It's dub reggae through a post-punk and alternative lens by Hanover artists Felix Holter aka Dubvisionist. All these cuts have a very live, improvised feel because father way he worked from rhythms first and jammed endlessly before adding the vocals. They are taken from their 1987 release 10 Tracks Of Reggae & Dub Music which was inspired by the great Adrian Sherwood label On-U Sound label, and you can hear that clearly.

TRACK LISTING

Side 1
1. "Far Away"
2. "Different Language"
3. "Whirl"

Side 2
1. "Natty Vision"
2. "Fear"
3. "No 4"

Kelly Jones of Stereophonics has co-written an album with Austin’s Patty Lynn and Dwight Baker (aka The Wind and The Wave) resulting in the formation of a new band Far From Saints, evoking a cross-genre sound spanning country, rock, folk, and Americana. Far From Saints is a project born from a shared, unadulterated love of music and collaboration, rich with emotions, creative integrity and defined by the unique sound of Kelly and Patty’s vocal harmonies.

Kelly, Patty and Dwight first experimented playing together when performing a cover version of Stevie Nicks and Tom Petty’s ‘Stop Draggin’ My Heart Around’ on Kelly Jones’ solo UK tour in 2019 (Dwight and Patty were openers for Kelly each night). Very soon on that UK tour, the three found themselves jamming and co-writing songs in backstage hallways, dressing rooms, soundchecks and hotels. Each songwriter subconsciously merging their influences to nourish the alchemy between two formidable singers. They booked recording sessions, one at the end of each leg of the tour and completed the entire album in just nine days. While it was created remarkably quickly, it also took years to be unveiled after the pandemic left them an ocean apart. Still captivatingly fresh, the album is now ready to be shared with the world.

TRACK LISTING

1. Screaming Hallelujah
2. Faded Black Tattoo
3. Take It Through The Night
4. Let's Turn This Back Around
5. Gonna Find What's Killing Me
6. The Ride
7. We Won't Get Out Alive
8. No Fool Like An Old Fool
9. Let The Light Shine Over You
10. Own It

While it was Hermeto's frst album released under his own name, he had spent the decade or so prior making a name for himself in Brazil and internationally as a composer, arranger and instrumentalist with groups including Sambrassa Trio, Quarteto Novo and Brazilian Octopus, before going on to work with (amongst countless others) Edu Lobo, Antonio Carlos Jobim, Donald Byrd, Airto Moreira and Miles Davis, who allegedly called Hermeto "one of the most important musicians on the planet".

With Hermeto's otherworldly orchestral arrangements, ghostly vocal performances from Flora Purim and Googie Coppola, and the inimitable drumming and percussion stylings of Airto Moreira, Hermeto easily rivals some of the oft- celebrated MPB albums of the early 1970s, sitting somewhere between the string-heavy magic of Arthur Verocai's 1972 debut and the unplacable early experimentalism of Pedro Santos' 1968 album Krishnanda.

With his phenomenal natural musical genius and a ceaseless sense of creative freedom, Hermeto is widely known for using unconventional objects to make music. In the album's sleeve notes, Airto highlights the track "Velório (Mourning)" explaining how Heremto filled 36 apple juice bottles with different amounts of water and tuned them to precise pitches in order to create the beguiling harmonies heard.

The reissue of Hermeto Pascoal's Hermeto, follow's Far Out's recent unveiling of a previously unheard Hermeto Pascoal live concert Planetario da Gavea from 1981, and 2017's release of Hermeto Pascoal's lost 1976 studio album: Viajando Com O Som.

TRACK LISTING

1. Coalhada (Yogurt)
2. Hermeto
3. Guizos (Bells)
4. Flor Do Amor
5. Alicate (Pliers)
6. Velório (Mourning)
7. As Marianas (The Marianas)
8. Fabiola

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Far Out Recordings proudly presents laid back Brazilian groove maestro Joao Donato's synth-heavy collaboration with his son Donatinho

Sintetizamor sees the father- son duo jovially hurtle through space and time across ten tracks of sparkling pop, Brazilian boogie and club friendly disco-funk. Joao Donato has been a hugely influential figure in the development of Brazilian music since the mid-1950's. He's played and recorded with virtually every one of his fellow Brazilian masters. Many of his own albums (of which he's recorded over three- dozen) are regarded with such adulation that 'cult- favourites' doesn't quite cut it. Aged 82 at the time, Donato's collaboration with his prodigious, synth obsessed son Donatinho - whose keyboard talents have been called on by the likes of the late Gal Costa, Djavan and Donatinho's contemporaries such as Diogo Strausz - was originally released back in 2017, as a limited Brazil-only release. For Record Store Day 2023, Sintetizamor will be available on vinyl (for the first time outside of Brazil) from participating stores.

A Far Cry From Dead is a posthumous collection that presents new versions of several of Van Zandt’s best songs. He cut the vocals for these tracks at a neighbor’s home studio in the early 90s; the instrumental accompaniment was added after his death by some of Nashville’s hottest pickers.

TRACK LISTING

1. Dollar Bill Blues
2. To Live's To Fly
3. Rex's Blues
4. Sanitarium Blues
5. Ain't Leavin' Your Love
6. Greensboro Woman
7. Snake Mountain Blues
8. Pancho & Lefty
9. For The Sake Of The Song
10. Waitin' Around To Die
11. Many A Fine Lady
12. Tower Song
13. Squash

DR. MYSTERY marks her debut release with Ono. "Far From Home" is an eight-track album that glides across the dreamscape of another world. DR. MYSTERY’s world, set in the future, exploring sounds that excite the mind and body, underpinning an eclectic take on leftfield techno.

DR. MYSTERY’s talent to traverse the intersections between dreams and reality through sonics, positions her as an electric producer who is only just at the beginning of her journey. Ono wishes to capture this moment in a way that feels special, they have handmade 300 sleeves for the "Far From Home" vinyl out of old record sleeves and screen-printed the artwork onto them. Therefore each sleeve is bespoke and one of a kind.

Landing inna indeed exotic and alien dreamscape. The first two, quite classic Detroit / electro influenced tracks quickly morph into a cybernetic-trip-pop masterpiece entitled "Petrichor" which sounds like if Portishead transmitted from Saturn. Peppered drum hits, ethereal vox and wavy synths decorate much of the remaining duration; as DR. MYSTERY drifts between hydroplaning electro and jarring mainframe kinetics. It's a seductive and immersive trip with a great deal of continuity, simplicity and sentiment holding the whole thing together. Like much of Ono's cherished discography, it's a leftfield, DIY epic which belies its underground ethos and aesthetic. Fully endorsed by us all here at Picc HQ it's great to see Ono back in action for 2023!

All tracks written, produced & mixed by DR. MYSTERY
Mastered by Nick Sinna at Hidden Sounds
Artwork by Dr Mystery, Michael Holland
Screen-printed by Luste Silkscreen Studio in Riga

STAFF COMMENTS

Matt says: For newcomers to Ono this is a quintessentially great entry point. Custom sleeves, screen printed artwork, featuring a truly underground artist - all aspects that the Michael Holland-directed label has celebrated over its many years of inception.

TRACK LISTING

1. Dialog That Needs Your Attention 04:24
2. Gaia 06:00
3. Petrichor 05:08
4. Zukunft 02:33
5. Opulence 04:22
6. Avalanche 04:24
7. Far From Home 05:11
8. Antares 03:41

Continuing to shine a light on John Rocca & co's pioneering early 80s music, Far Out proudly presents the first ever 12" release of Freeez's monster brit-funk classic "Mariposa", along with the equally heavy and hard to find 12" mix of "Alone"

The limited Mariposa/Alone 12" release follows Far Out's reissues of Freeez's first two 12" single releases "Keep In Touch" and "Stay/ Hot Footing it", which saw support from Kenny Dope, Greg Wilson, Gilles Peterson, Shuya Okino and Harvey Sutherland. Slightly more refined, but no less groovy and mysterious, "Mariposa" and "Alone" are the pinnacle of the sound Rocca and Peter Maas began developing in an East London basement in the early 80s.

Released on Freeez's debut album Southern Freeez in 1980, "Mariposa '' is fearsomely funky, high-tempo, melodic jazz-funk featuring Paul Morgan's lighting drum fills, Peter Maas's slapping and popping, Andy Stennett's top- drawer keys and John Rocca's percussion and otherworldly Spanish vocals. Pure dance-floor body music, "Mariposa" typified the group's feel-good sound and has torn up club floors throughout the 80s and beyond.

With the same core line- up, with the exception of new drummer; Light Of The World's Everton McCalla, "Alone", originally released as the B-side to Freeez's "One to One" single in 1982, is a cool, heady boogie stepper, and this elusive extended 12" mix is a no brainer for any discerning jazz/funk boogie jock.

In the mid-80s Rocca would go onto craft underground cult classics like 'Melodies of Love' and 'India' as Pink Rhythm, before foraying into the world of electro, collaborating with legendary US producer Arthur Baker.

STAFF COMMENTS

Matt says: Galvanized slap bass, dazzling keys, frenetic drums, soulful vox - Freeez got it all man! Feverishly collected by Brit funk devotees and boogie aficionados across the globe, these two cuts have been painfully hard to get on 12" for some time. Don't sleep!

TRACK LISTING

Mariposa
Alone (12" Version)

Legendary Iowan icons Slipknot have announced details of their widely anticipated new album, The End, So Far, which will be released on Roadrunner Records.

The band has also shared the album’s lead single “The Dying Song (Time To Sing)” with an official music video directed by the band’s own M. Shawn ‘clown’ Crahan. The “The Dying Song (Time To Sing)” video, and the track itself, sees one of the world’s most popular and deeply enigmatic bands relentlessly charting new ground as they continue to redefine, revitalize, and reimagine the scope of rock music.

Produced By Slipknot and Joe Barresi, The End For Now…. includes the band’s 2021 surprise single “The Chapeltown Rag” and follows their widely celebrated 2019 album We Are Not Your Kind, which marked Slipknot’s third consecutive #1 on the Billboard 200 and debuted at #1 on the UK Album Chart..

TRACK LISTING

01 Adderall
02 The Dying Song (Time To Sing)
03 The Chapeltown Rag
04 Yen
05 Hivemind
06 Warranty
07 Medicine For The Dead
08 Acidic
09 Heirloom
10 H377
11 De Sade
12 Finale

The ground- breaking, unique jazz/R&B/pop group Brian Auger & The Trinity were formed from the ashes of Long John Baldry’s and Brian Auger’s previous group bandThe Steampacket, an R&B Revue collective, which also featured a then barely known Rod Stewart and Julie Driscoll.

Adding the UKs then greatest soul/pop singer Julie Driscoll to this new collective meant that not only did the band have a unique, beautiful voice and face to front the group – Driscoll also embodied everything about the 1960s fashionable It Girl; her sound, her clothes, hair styles and make up assured that nearly as many column inches were dedicated to her stylish demeanour as much as the band’s genre bending music.

The group were the one of the first too to intentionally set out to break down musical barriers – Brian himself specifically stated in the sleeve notes for 1968s ‘Definitely What!’ album that his concept “lies along a straight line drawn between pop and jazz and aims at the ‘fusion’ of both elements”. ‘Fusion’ at that time was not even a recognised musical term, reinforcing Auger’s credentials as an originator and innovator.

“Back then the jazz audiences were purists. They really looked down on rock and pop,” he explains. “I had people cross the road when they saw me coming, I was persona non grata at Ronnie Scotts because of themusic we were doing and the clothes we were wearing”.

Happily – audiences of the time didn’t take the same dismissive approach, Julie Driscoll, Brian Auger & The Trinity toured the US and had exploded onto American TV screens as guests of The Monkees, and also scored hits across Europe's pop charts via the singles ‘This Wheels On Fire’ & ‘Save Me’ – but simultaneously appeared on the UK’s ‘Top Of The Pops’ in the same month as headlining major European Jazz Festivals – a feat no other act has equalled since.

Between 1967 and ’70, Brian Auger experienced a four year run of unprecedented creativity – 1967’s Open with Julie Driscoll, 1968’s Definitely What!, 1969’s Streetnoise again with Driscoll and 1970’s Befour – taking the Hammond Organ in new directions with their thrilling fusion of club R&B, jazz and psychedelic cool, engaging both the underground and the mainstream, and bringing the group chart success in the UK and Europe. “I look back on my years with The Trinity as aperiod of discovery,” Auger concludes. “I didn’t know what would happen or where it would take me but we were breaking down barriers and going someplace new.”

TRACK LISTING

Open (1967)
A1. In And Out
A2. Isola Natale
A3. Black Cat
A4. Lament For Miss Baker
A5. Goodbye Jungle Telegraph
B1.Tramp
B2. Why (Am I Treated So Bad)
B3. A Kind Of Love In
B4. Break It Up
B5. Season Of The Witch

Streetnoise (1969)
A1. Tropic Of Capricorn
A2. Czechoslovakia
A3. Take Me To The Water
A4. A Word About Colour
B1. Light My Fire
B2. Indian Rope Man
B3. When I Was A Young Girl
B4. Flesh Failures (Let The Sunshine In)
C1. Ellis Island
C2. In Search Of The Sun
C3. Finally Found You Out
C4. Looking In The Eye Of The World
D1. Vauxhall To Lambeth Bridge
D2. All Blues
D3. I’ve Got Life
D4. Save The Country

Definitely What! (1968)
A1. A Day In The Life
A2. George Bruno Money
A3. Far Horizon
A4. John Brown’s Body
B1. Red Beans And Rice
B2. Bumpin’ On Sunset
B3. If You Live
B4. Definitely What

Befour (1970)
A1. I Wanna Take You Higher
A2. Pavane
A3. No Time To Live
A4. Maiden Voyage
B1. Listen Here
B2. Just You Just Me

THIS IS A RECORD STORE DAY 2022 EXCLUSIVE, LIMITED TO ONE PER PERSON.

"One of the best bass players in the world Dudu Lima teams up with Brazilian guitar legend Joao Bosco to record deep, beautiful extended live versions of some of Bosco's most well known tracks. Featuring Azymuth's drummer Ivan Conti, percussion master Marcos Suzano and Dudu Viana on piano. This is a super-limited, one-off, record store day release"

Hailing from Sydney, Australia, prolific producer Cabu has come a long way; from his successful remix work – from Joe Hurtz's "Stay Lost" edit to Big Wild's "Empty Room" flip – to his consistently catchy original productions, Cabu's only getting started. He keeps this momentum alive with the EP "So Far To Go", his first to be released by Ta-ku & Jakarta Records' sublabel 823 Records.

823 is a perfect place for Cabu's bouncy, hypnotic grooves and is a return to form for what "Cabu" represents: a driving force in the pursuit of happiness through sound. It's a well-timed collaboration, as Cabu's fanbase has continuously grown over the past few years through features on Australia's Triple J, DJ Complexion's Future Beats Radio, Soundistyle, The South East Grind, Mutual Friends, ThisSongIsSick, Majestic Casual, Soulection Radio, BBC 1xtra, Pilerats, Maison Kitsune and more. To that end, "So Far To Go" features some of the most talented artists to come out of the Pacific continent, such as Milan Ring (95K monthly Spotify listeners) – coined "Australia's R&B Princess" by Apple Music – Brisbane native hit-maker Young Franco (1M+ monthly Spotify listeners), Kamaliza (123K monthly Spotify listeners), NOÉ, Gabby Nacua, Pastel and of course label-head Ta-ku himself.

1st single, "Process" featuring Ta-ku & Milan Ring was released on November 3rd. Hypnotically bouncy, with heavenly synth pads, crisp percussive elements combined with the ethereal voices of Ta-ku and Milan harmonically push the sonic envelope to make this track an infallible groovy knockout. As Cabu says, "Process" is "the dream-like state in which you take gratitude in your current situation whilst being hopeful in the future." The track provides a perfect taste of these artistic and creative powerhouses. The stunningly beautiful music video – directed by Sydney based Redscope Films and premiered on The Sound You Need – is the perfect accompaniment.

2nd single, "Sun & Moon" featuring Young Franco & NOÉ is set to be released on December 10th along with an announcement of the EP and pre-order. The song is a contagiously bouncy bop, with the different vocal harmonies and synth chords giving the track an almost prime 00's throwback, it's the perfect year-end anthem to keep dancing and growing through the good and bad.

The album's focus track, "About U" featuring Kamaliza will be released along with the EP release on January 28th, 2022. The song perfectly blends electronic elements within an R&B / Soul aesthetic, and is all about moving forward with intention, from the lyrics to the groove, making you feel tipsy on life.

All singles off the EP will be accompanied with custom visualizers by Perth-based design / creative firm Gesture Systems. The album's single-releases and videos will be promoted in-house via the artist's and the label's social media channels in Germany and Australia.

The 823 label represents the appreciation for the people, ideas and places that inspire and push their protagonists forward. "823 celebrates the simple beauty of everyday life and the people in it that inspire us." (Regan Matthews aka Ta-ku)

STAFF COMMENTS

Millie says: I've been waiting patiently for this one, smooth R&B sound with high energy which hits just the right spot. Exciting things coming from Sydney, this is one to watch closely for sure.

TRACK LISTING

1. Reintroduction
2. About U (feat. Kamaliza)
3. Over Me (feat. Gabby Nacua)
4. Interlude (feat. Pastel)
5. Sun Moon (feat. Young Franco & NOE)
6. Process (feat. Milan Ring & Ta-Ku)
7. Falling In

Jerry Teel - guitar, harmonica, vocals (The Chrome Cranks, Knoxville Girls, Big City Stompers, etc).
Jon Spencer - guitar (Blues Explosion, Pussy Galore, Five Dollar Priest, etc).
Russell Simins - drums (Blues Explosion, etc).
Lisa Wells - bass.

Hung Far Low" is the fifth and final studio album by New York noise rock band The Honeymoon Killers, originally released in 1991 and is now remastered in order to achieve the extreme sound desired for this band.

The Honeymoon Killers recorded this album picking up 2/3 of the nascent Jon Spencer Blues Explosion.

As one third of legendary trio Azymuth, Alex Malheiros has pioneered a
unique fusion of space-funk, samba and jazz since the early seventies. His
playing can be heard on the records of Jorge Ben, Milton Nascimento,
Roberto Carlos, Marcos Valle, and Mark Murphy (to name a few), and he's
performed and toured with everyone from Stevie Wonder to Chick Corea.

Written and recorded in Niterói, Brazil, overlooking Guanabara and the beaches, mountains and forests of Rio de Janeiro, Tempos Futuros has deep roots in Brazilian soil. The rhythms of Malheiros' homeland have always permeated his music. But just like the Oscar Niemeyer designed Niterói Contemporary Art Museum which stands spaceship-like over the water, Tempos Futuros – while inspired by terrestrial forms, reaches out, deep into the great unknown.

Produced by acclaimed London-based producer Daniel Maunick, who has
worked with Marcos Valle, Azymuth, Terry Callier, and Ivan Conti, the funk
comes full circle. Daniel's father Jean-Paul "Bluey" Maunick and Alex Malheiros shared a reciprocal stream of influence throughout the 80s, between London and Rio; Azymuth and Incognito; brit-funk and samba-funk. But just as with Azymuth's music, you can also hear the influence of stateside jazz-funk masters like Roy Ayers, Weather Report, Lonnie Liston Smith, Mtume and Pleasure.

Tempos Futuros features Alex's daughter, a Brazilian star in her own right,
vocalist Sabrina Malheiros, Brazilian percussion master Sidinho Moreira,
London based saxophonist Sean Khan, Marcos Valle's go-to drummer Massa,
and Brazilian keyboard player Dudu Viana. Featuring the late Azymuth
keyboard maestro Jose Roberto Bertami on Fender Rhodes, the title track "Tempos Futuros" was originally recorded as a demo in 1995. On this finished version, Alex Malheiros used Bertami's original keyboard take, explaining the
posthumous release.

TRACK LISTING

1. The Razor's Edge
2. Prece (feat. Sabrina Malheiros)
3. Telegramas Para Arp
4. Retrato (feat. Sean Khan)
5. Requiem For A Storm
6. Alto Verão (feat. Sabrina Malheiros)
7. O Temporal
8. Marcinha
9. Kuarup

Far Out Recordings presents a double bill of two monumental Brit funk classics. Keep In Touch and Stay were the first two 12” singles by the iconic Freeez, both self-funded passion projects of its founding member John Rocca, for his own Pink Rhythm imprint.

It all started over the counter at Derek’s Records on Petticoat Lane, London in the mid-70s. Rocca - at the time a budding teenage percussionist - met the prolific guitarist, composer, producer and all round brit funk fixer Jean-Paul “Bluey” Maunick (also the father of Far Out producer Daniel Maunick). Best known as the founding member of Light of the World, Incognito, and more recently Str4ta, Bluey’s involvement in the origins of Freeez are lesser known, but no less crucial. Bluey invited Rocca to a weekly jam session in an East London basement, where they would develop their craft, form their first band Freeez and develop the idea for ‘Keep In Touch’: “Back in the basement there was this one particular track we were playing that I really loved. It had a groove that I thought I could sell” Rocca reminisces.

Going against the advice of all the musicians involved, who thought he was mad and set to lose all his money, John decided to go full DIY, hire out a high end studio in the West End to record ‘Keep In Touch’ and release it as a private press, birthing his now famed Pink Rhythm label. Featuring Bluey on guitar, Peter Maas on bass, Paul Morgan on drums, Jason Wright on keyboards, and John Rocca on percussion, Keep In Touch was a surprise underground hit selling over 5000 copies and reaching #49 in the UK, leading Freeez into a record deal with Pye / Calibre.

Still giddy from the experience of having produced and pressed his first record at the age of just 19, John set out to do it all again with ‘Stay’ and ‘Hot Footing It’, enlisting Bluey & co once again. This time Rocca attempted to take things to the next level by adding vocals into the mix. Though this new arrangement initially backfired and cost John the deal with Pye / Calibre who weren’t feeling the slight change of vibe, original copies of the Stay 12” have become one of the most in demand from the brit funk canon.

These foundational DIY 12” singles paved the way for Freeez to become a household name in the history of British funk who went on to record hits like ‘Southern Freeze’ and ‘IOU’ as well as underground cult classics like ‘Melodies of Love’ and ‘India’ as Pink Rhythm, John Rocca’s later formation of Freeez named after his imprint.

Far Out will be releasing a very limited run of the two 12”s (1000 copies of each), both redesigned in the style of the original private presses.

TRACK LISTING

1. Keep In Touch
2. Keep In Touch (Edit)

Far Out Recordings presents a double bill of two monumental Brit funk classics. Keep In Touch and Stay were the first two 12” singles by the iconic Freeez, both self-funded passion projects of its founding member John Rocca, for his own Pink Rhythm imprint.

It all started over the counter at Derek’s Records on Petticoat Lane, London in the mid-70s. Rocca - at the time a budding teenage percussionist - met the prolific guitarist, composer, producer and all round brit funk fixer Jean-Paul “Bluey” Maunick (also the father of Far Out producer Daniel Maunick). Best known as the founding member of Light of the World, Incognito, and more recently Str4ta, Bluey’s involvement in the origins of Freeez are lesser known, but no less crucial. Bluey invited Rocca to a weekly jam session in an East London basement, where they would develop their craft, form their first band Freeez and develop the idea for ‘Keep In Touch’: “Back in the basement there was this one particular track we were playing that I really loved. It had a groove that I thought I could sell” Rocca reminisces.

Going against the advice of all the musicians involved, who thought he was mad and set to lose all his money, John decided to go full DIY, hire out a high end studio in the West End to record ‘Keep In Touch’ and release it as a private press, birthing his now famed Pink Rhythm label. Featuring Bluey on guitar, Peter Maas on bass, Paul Morgan on drums, Jason Wright on keyboards, and John Rocca on percussion, Keep In Touch was a surprise underground hit selling over 5000 copies and reaching #49 in the UK, leading Freeez into a record deal with Pye / Calibre.

Still giddy from the experience of having produced and pressed his first record at the age of just 19, John set out to do it all again with ‘Stay’ and ‘Hot Footing It’, enlisting Bluey & co once again. This time Rocca attempted to take things to the next level by adding vocals into the mix. Though this new arrangement initially backfired and cost John the deal with Pye / Calibre who weren’t feeling the slight change of vibe, original copies of the Stay 12” have become one of the most in demand from the brit funk canon.

These foundational DIY 12” singles paved the way for Freeez to become a household name in the history of British funk who went on to record hits like ‘Southern Freeze’ and ‘IOU’ as well as underground cult classics like ‘Melodies of Love’ and ‘India’ as Pink Rhythm, John Rocca’s later formation of Freeez named after his imprint.

Far Out will be releasing a very limited run of the two 12”s (1000 copies of each), both redesigned in the style of the original private presses.

STAFF COMMENTS

Matt says: Another essential Brit-funk group headed by John Rocca. You probably know "Southern Freez" but I think "Stay", featured here, pips it to the post. Either way, these fresh reissues are a welcome addition to any boogie / funk / disco record collection.

TRACK LISTING

1. Stay

2. Hot Footing It

When Roberto Carlos Lange, the musician known as Helado Negro, began writing ‘Far In’ immediately following the release of his acclaimed 2019 ‘This is How You Smile’, he could not have predicted that we would soon need to learn how to stay at home and be the stars of our domestic dancefloors with intimate and online communities.

The titular pair in ‘Gemini and Leo’ stay indoors to discover each other anew with music recalling Lange’s youth growing up in South Florida listening to 80s club songs, and their return sampled in 90s hip-hop.

Visions past and future meet in a euphoria of uptempo drums, Jen Wasner’s (Flock of Dimes) funky bassline, and Opal Hoyt’s (Zenizen) galactic swirl of warm and steely synths and bright backing vocals.

What was a prophesying rehearsal for the musician will, we can hope, soon be our fresh start, a choice to bring that energy home, or go out to meet it.

STAFF COMMENTS

Patrick says: This is lush! I immediately tipped Ryan Horsebeach to it upon listening, as it finds a fine middle ground between Mac Demarco's lazy jangle and the Whitest Boy Alive. #AccidentalBalearic

TRACK LISTING

Wake Up Tomorrow
Gemini And Leo
Purple Tones
There Must Be A Song
Like You
Aguas Frías
Aureole
Hometown Dream
Agosto (Feat.Buscabulla)
Outside The Outside
Brown Fluorescence
Wind Conversations
Thank You For Ever
La Naranja
Telescope (Feat. Benamin)
Mirror Talk

Written and recorded in 1978 by pianist, composer, sound engineer, studio owner and former amateur skateboarding champion Ricardo Bomba, ‘Eu Sei’ and ‘Flutuando’ were almost doomed to total obscurity when the master tapes were binned following a ruthless studio clear out. Luckily Bomba kept a cassette tape copy from which Far Out has remastered the release for 7” vinyl/ digital.

Throughout a varied career, which included a four year stint as bandleader of Jorge Ben’s live show (78-82), Ricardo Bomba had a string of idiosyncratic, underground pop hits throughout the 80s, including ‘Voc Vai Se Lembrar’ which recently featured on Soundway’s Onda De Amor (Synthesized Brazilian Hits That Never Were 1984-94) compilation, as well as his then award-winning, now obscure solo album Ultralight (1988).

With the stunning vocals of Mariana Couto (the first wife of Chicago percussionist Laudir de Oliveira), legendary drummer Peninha who has recorded with the likes of Jorge Ben, Quarteto Em Cy, Lincoln Olivetti, Tony Bizarro and Gal Costa, and Brazilian guitarist Blimba Buarque, “Eu Sei” and “Flutuando” truly are lost gems of the late ‘70s Rio de Janeiro MPB scene.

*Disclaimer! This release was mastered from cassette tape, so the sound quality may differ from other releases on Far Out Recordings. We advise listening to sound clips before buying where possible... The music was simply too good to not release!

Credits: Ricardo Bomba - Piano, Soprano saxophone, Vocals Roberto Lee - Bass, Vocals Peninha - Drums Mariana Couto - Vocals on “Eu Sei” Blimba - Guitar Compositions by Ricardo Bomba Produced by Ricardo Bomba

Recorded at Transam rica Studios in 1978 Engineered by Vanderlei Loureiro and Toninho Barbosa

TRACK LISTING

Eu Sei
Flutuando

Like all Amaro’s albums, Sankofa has taken around two years to make, with the trio spending eight hours a day, four days a week in the studio. “We treasure the creative process. We know it takes time to reach a different place, and then it takes time to understand that place, to translate it. When we want to leave our comfort zone, the most important factors are time, dedication, discipline and wisdom. Months pass and ideas start falling into place. Time is the most important thing. We cannot make it to where we want to be without it. So, I also want to transmit this message to future generations: Let’s slow down, let’s give ourselves more time, let’s do deeper things. Let’s stop swimming in the surface, let’s dive.” From the slums of Recife in Brazil’s North-East to international jazz icon, Amaro Freitas has worked tirelessly to become the artist he is today. Gaining international attention for “an approach to the keyboard so unique that it’s startling” (Downbeat), his debut and second albums Sangue Negro (2016) and Rasif (2018) arrived on a wave of instant acclaim. His new album Sankofa - a spiritual quest into the forgotten stories, ancient philosophies and inspirations.

TRACK LISTING

Sankofa
Ayeye
Baquaqua
Vila Bela
Cazumb
Batucada
Malakoff
Nascimento

After years of trying to track him down (with many twists and turns along the way), Far Out Recordings finally brings us, with the blessing of the man himself, the long-awaited release of José Mauro’s forgotten masterpiece "A Viagem Das Horas", featuring three previously unreleased and unheard tracks from the original studio sessions. Recorded in 1970 at Odeon studios in Rio de Janeiro: the same time and place as all the music he ever recorded, José Mauro’s A Viagem Das Horas wasn’t released until six years later, when label owner and producer Roberto Quartin licensed the tracks to fellow Brazilian label Tapecar, who curiously released the album with several tracks already released on Obnoxius. Finally, over half a century on, A Viagem Das Horas will be released with three never before heard tracks, “Rua Dois”, “Moenda’’ and “Variação Sobre Um Antigo Tema”, as Mauro and Quartin had originally intended.

TRACK LISTING

A Viagem Das Horas
Escada De Ferro
A Oitava Morada
Varia O Sobre Um Antigo Tema
Morango Encantado
Luz Lil S
Rua Dois
Moenda
O Cavaleiro De Antonina
Romanza
O Ninho

Part two of this incredible Francisco Mora Catlett piece sees wife Teresa Mora on vocals and trumpet legend Marcus Belgrave. “Mora I & II” are holy grails of Latin jazz, masterminded by an unsung hero of the genre. Born in Washington DC, 1947, Francisco Mora Jr is the eldest child of two highly prominent Mexican artists, Francisco Mora Sr and Elizabeth Catlett, to whom this project was dedicated. Being born into a mixed heritage bohemian family provided Mora Jr with what he called a ‘creative, progressive, and healthy arts environment’, building the foundations for a fascinating career journey ahead.

Mora grew up in Mexico City where he began working as a session musician for Capitol Records in 1968, before moving to study at Berklee Music College in Boston, MA in 1970. Once he’d completed his studies in 1973, he very briefly returned to Mexico City with the best intentions of cultivating an avant-garde movement in the city, but when the Sun Ra Arkestra came to perform, Mora ended up leaving with the band to tour the world for the next seven years, a decent innings within a group famous for its constantly evolving line up.

Settling in Detroit after his years with the Arkestra, Francisco set to work on his selftitled debut, gathering an ensemble of musicians that included keyboardist Kenny Cox, founder of the legendary Strata Records, esteemed bassist Rodney Whitaker of the Roy Hargrove Quintet and percussionists Jerome Le Duff, Alberto Nacif, and Emile Borde. The album openly embraces and unites the broad spectrum of improvisation, rhythm, and jazz that has thrived throughout the American continents for centuries. In Mora’s own words the album intended to ‘manifest the African heritage presence in the American continent.’

TRACK LISTING

Afra Jum
Amazona
Amazona Prelude
Dawn
Samba Conga Do Amor
Por Que Paro 
Afra Jum 
Old Man Joe 
El Morro

Originally released in 1974, CSNY’s first compilation album So Far highlights the group’s first two critically acclaimed and highly successful albums; Déjà Vu and Crosby, Stills & Nash. After David Crosby left The Byrds, Stephen Stills’ band Buffalo Springfield had broken up and Graham Nash had left The Hollies; the trio formed one of the first, and still to this day greatest, supergroups. Under the same CSN, they recorded the band’s debut album Crosby, Stills & Nash to real fanfare. It shot the group into superstardom, culminating in a Grammy award for Best New Artist in 1970. Previously also part of Buffalo Springfield, Neil Young joined the band as their fourth member and the result was the band’s opus, Déjà Vu; a folk-rock classic. The album is revered to this day, consistently included in best albums of all-time lists in the media. So Far includes tracks from both of these albums, as well as the highly popular non-album single Ohio, alongside its’ B-side Find The Cost Of Freedom

Throughout a career that has spanned over twenty years and seen collaborations with MF DOOM, Thom Yorke, Damon Albarn, BadBadNotGood, Portishead’s Beth Gibbons, Kimbra and Khujo Goodie (Dungeon Family), Jneiro Jarel’s consistently distinctive, forward thinking productions, as well as his love for the music of Brazil, made his partnership with Far Out a perfect fit. Recorded between New York, New Orleans, Miami and Costa Rica, After A Thousand Years features legendary multi-instrumentalist Bill Summers, famed for his work with Herbie Hancock, Quincy Jones and Eddie Henderson. The album also features Malawian-American guitarist Masauko Chipembere who has worked with the likes of RZA from Wu-Tang Clan and Ladybug Mecca from Digable Planets. In 2018 Far Out Recordings signed a record deal with Brooklyn born, nomadic producer Jneiro Jarel.

Having just put the finishing touches to the recordings, Jarel suffered an ischemic stroke while living and working in Costa Rica and his wife Indigo was forced to set up a crowd fund to cover special medical transport back to the states to receive treatment. The release was put on hold, but thanks to the generosity of friends and fans around the world, Jarel was able to get the care he needed and is now on the long road to recovery. For Jarel, After A Thousand Years is “a culmination of the longstanding musical contributions of the African diaspora.” Permeating the Brazilian music and Latin jazz Jarel has loved and drawn inspiration from, as well as the stateside jazz, soul and funk Jarel grew up around, the influence of Africa and its musical history, on both North and South America, is key to the album’s sound.

On lead single “Banana Peel”, Jarel’s outernational perspective makes for a track that is almost impossible to place geographically: you can hear the swing of Jarel’s native New Orleans jazz, the vibrance of Costa Rican rainforests as well as the influence of Jarel’s vast collection of Brazilian records. “Viberian Waves 1&2” is equally nonconformist, morphing from funky baroque-flavoured instrumental hip hop into a bossa inspired, percussive jam. Taking its inspiration from the biblical prophecies found in the books of Isaiah, Daniel, and Revelation, foretelling the fully realized, physical and spiritual restoration of the earth and mankind after the thousand year reign of the Messianic Kingdom, After A Thousand Years contemplates and celebrates a world where everlasting love, peace, and harmony abound under a sovereign, divine rulership

TRACK LISTING

1. If I Could See Heaven Without Dying Feat: Scott Burton 
2. Ce-les-tial
3. Sunwalkers Part Two And Three Feat: Bill Summers 
4. Just A Little While Longer
5. African Bahia Sol Feat: Dr Who Dat? 
6. Viberian Waves 1 & 2 Feat: Capitol Peoples 
7. Broken Arted 
8. Banana Peel (C Scara De Pl Tano) Featuring Masauko Chipembere
9. Let The Cu Ca Play Feat: Cafe, Micr Climate 
10. TROP-PICS

Future Islands are Samuel T. Herring (vocals, lyrics), William Cashion (bass, guitars) and Gerrit Whelmers (keyboards, programming).

Recorded in Los Angeles with GRAMMY award-winning producer John Congleton at the legendary Sunset Sound (where everyone from The Beach Boys to Prince have laid down masterpieces), The Far Field’s twelve chest-pounding love songs and odes to the road brilliantly express the central themes the band have been exploring for the last decade: that there is power in emotional vulnerability, that one can find a way to laugh and cry in the same breath – and be stronger for it.

The Far Field features string and horn arrangements by Patrick McMinn and is their first record to feature live drums by Michael Lowry, who joined the band prior to their sensational performance of ‘Seasons (Waiting On You)’ on David Letterman’s late night TV show and has remained a fixture since. Blondie’s Debbie Harry also makes a guest appearance, in a duet with Herring on penultimate track ‘Shadows’.

STAFF COMMENTS

Barry says: Whilst I know the lead singer of Future Islands has enchanted people with his 'Grandad after 7 sherries' stage-swagger, it is the music here that is truly the star (thank goodness). Slightly gothic atmospheres, soaring synths and plenty of late-80's plate reverbs. Dark but driven indie for the eye-makeup crowd.

TRACK LISTING

1. Aladdin
2. Time On Her Side
3. Ran
4. Beauty Of The Road
5. Cave
6. Through The Roses
7. North Star
8. Ancient Water
9. Candles
10. Day Glow Fire
11. Shadows
12. Black Rose

Though it was recorded and mixed in the same sessions, ‘Katmandu’ was mysteriously omitted by Mam o from the Poison Fruit album, either accidentally or on purpose, he’s not quite sure. What is for sure is that it’s one of the most potent poison grooves of them all. The original mix, produced by Daniel Maunick, accompanies remixes from three of mainland Europe’s finest DJ/producer combos, prolific German nu-jazz collective Jazzanova, MCDE Recordings & Faces Records’ Pablo Valentino, and Croatian house veteran Eddy Ramich with assistance from Zagreb duo Jan Kinl & Regis Kattie. This EP is the second in a series of limited edition dance 12”s celebrating 25 years of Far Out Recordings and is housed in a special sleeve which uses the label’s original semiquaver logo from 1994.

TRACK LISTING

Katmandu (Original Mix)
Katmandu (Pablo Valentino Remix)
Katmandu (Jazzanova Remix)
Katmandu (Eddy Ramich Feat. Jan Kinl & Regis Kattie Remix)

Ulrich Schnauss, the highly respected German electronic music composer, has taken the opportunity to remaster his entire back catalogue having recently had all his recording rights returned to him. Reissued on his own Scripted Realities label. The first of five albums, ‘Far Away Trains Passing By’ was originally released in 2001 and was the album that introduced Ulrich to the world. It is generally regarded as a landmark electronic music statement and now comes with 9 bonus tracks.

For fans of Brian Eno, Jon Hopkins, Tycho.

TRACK LISTING

Knuddelmaus
Between Us And Them
Passing By
Blumenwiese Neben Autobahn
Nobody’s Home
Molfsee
Brooks Was Here
Sunday Evening In Your Street
Suddenly The Trees Are Giving Way
A Lie For Breakfast
Nothing Happens In June
As If You’ve Never Been Away
A Million Miles Away
Crazy For You
Wherever You Are

Cable Ties are a fierce, tense rock’n’roll trio. They take the three-minute punk burner and stretch it past breaking point to deliver smouldering feminist anthems. Post-punk and garage rock hammered together by a relentless rhythmic pulse. Jenny McKechnie channels her struggles into songs that resonate deeply, giving voice to feelings often buried in modern life.

Shauna Boyle and Nick Brown are a rhythm section anchored in Stooges primitivism, relentlessly hammering out a bedrock for McKechnie’s guitar pyrotechnics and vocal wallop. Three friends summoning a rhythmic tide to deliver anthems that turn latent anxieties into a rallying cry. The band has been committed to an inclusive feminist and political outlook since its inception in 2015, exploring issues of gendered violence, colonialism, and sexual assault. The band members have been involved in benefit shows, organized DIY festivals, and volunteer with Girls Rock!, a not-for-profit organization that aims to empower female, trans, and gender non-binary youth in music.

TRACK LISTING

SIDE A

1 Hope
2 Tell Them Where To Go
3 Sandcastles
4 Lani

SIDE B

5 Not My Story
6 Self-Made Man
7 Anger’s Not Enough
8 Pillow

On his debut album Travesseiro Feliz (Happy Pillow) Rio de Janeiro based dreamer and new Far Out Recordings signing Ricardo Richaid melds his tropical heritage with his love for psychedelic music, jazz and rock.

He also takes inspiration from the many Brazilian greats - Caetano Veloso, Arthur Verocai, Ivan Lins, Joyce, Hermeto Pascoal, Marcos Valle and Azymuth (to name a few) - who he has worked with as an engineer, assistant and producer, in Rio’s former RCA studio, Cia dos Tecnicos. As well as being heavily influenced by Brazil’s fabled Tropicalia movement, Richaid is the grandson of Brazilian actor, singer and Disney star Aurora Miranda (Carmen Miranda’s younger sister), so tropicalism is in his blood. Describing his sound as ‘Industrial Tropicalism’, Richaid’s music is undoubtedly a product of his environment. Just like Rio, it’s warm, hazy and beautiful. But reflecting the current mood of his homeland, there’s an ominous smog looming amongst its charm. Lamenting the political, economic and ecological crisis he sees engulfing Brazil, Richaid’s obscure, poetic lyrics touch on drugs, drones and darkness, emphasizing the importance of art to bring light in troubled times.

Singlehandedly composing, producing and mixing everything himself, Richaid recalls the endless nights he spent working on the album, often sleeping on the studio floor. Travisseiro Feliz features a host of notable names from across Rio’s music spectrum, including percussion sensation Marcos Suzano (Gilberto Gil), experimental pop artist Ana Frango Eletrico, and vocalist and multi-instrumentalist Jose Ibarra, who has been lauded for his recent performances as part of Milton Nascimento’s touring group. On interlude track ‘Formigas’ we also hear a few verses of Ricardo singing together with his 7-year-old daughter, Nina Richaid. Carrying forward the Tropic lia torch, the album’s cinematic opener “Maracas Enterprise/ Frio Da Manh “ is a two-part journey through Richaid’s sonic approach, weaving together interlocking horns, chorus drenched guitar, and fuzzed up synth stabs. A perfect example of Richaid’s industrial tropicalism, “Largado Nu” mixes soft, acoustic guitar and flutes with harder-edged synths and electric guitars, while ‘O Velho Cai’ is beautiful jazz-infused folk, with fretless bass and saxophone singing around the vocal harmonies of Richaid and Liza Machado.

Alongside engineering some of his musical heroes in Brazil, Richaid has played in bands like Mara R bia and nit , from Rio’s underground experimental psych and jazz scenes.

TRACK LISTING

Maracas Enterprise
Frio Da Manh
S Na Darkzera
VIP Xuxa 
Largado Nu
Outra
Ave Apoena
O Velho Cai
Drone / Formigas

Milton Nascimento’s "Maria Maria" was recorded in 1974 and was unreleased until almost thirty years later. The album was written as the soundtrack to a ballet which dealt with the legacy of slavery in Brazil. Raw, atmospheric and emotionally charged, "Maria Maria" reveals one of Brazil’s greatest ever songwriters at his creative peak. Featuring an all-star cast of fellow Brazilian legends including Nana Vasconcelos, Joao Donato, Paulinho Jobim, and members of Som Imaginario, Maria Maria holds what Milton considers to be the definitive versions of some of his classic songs, including "Os Escravos De Jó" and "Maria Maria".

Milton Nascimento possesses one of the most immediately recognizable voices in Brazilian music: high and sweet and as breathtakingly sublime as that of any soul singer. It was this voice that the legendary Brazilian singer Elis Regina fell in love with back in 1964, having heard Milton perform his song "Can o do Sal (Sultry Song)" at a private party in Sao Paulo. Ellis went on to record the song in 1967 -giving Milton his first hit in Brazil and beginning a career that has spanned over 50 years.

Born in Rio on the 26th October 1942, Milton moved with his adoptive parents at the age of 18 months to Tres Pontas, a rural town in the state of Minas Gerais, 500 miles north of Rio. Milton became part of a local network of musicians, film makers, dancers, theatre directors and writers that included the journalist and song writer Fernando Brant as well as lyricist Marcio Borges and his younger brother Lo Borges. Milton’s religious upbringing as an Afro-Brazilian Catholic saw him exposed to church choral music from an early age. His love of this genre of music is apparent in both his celestial falsetto and vocal choral arrangements. This collection also displays his early fascination with evocative, non-verbal, scat-style singing, spare, harmonic guitar work and local folk music, jazz and rock.

TRACK LISTING

LP 1:
Maria Maria
Cozinha
Pilar (Do Pila)
Trabalhos (Essa Voz)
Lilia
A Chamada
Era Rei E Sou Escravo
Os Escravos De Jo
Tema Dos Deuses

LP 2:
Santos Catholicos X Candomble
Pai Grande
Sedu O
Francisco
Maria Solid Ria
De Repente Maria Sumiu
Eu Sou Uma Preta Velha Aqui Sentada No Sol
Boca A Boca
Maria Maria

In 1974 Mazzotti recorded her first album "Ninguem Vai Me Segurar" (1974), enlisting the in-demand arrangement talents of Azymuth’s original keyboard maestro Jose Roberto Bertrami who co-wrote several of the tracks and plays organ, piano and synthesizers on the album. It also features Azymuth’s bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it’s no wonder the samba jazz-funk pioneer’s distinctive aesthetic is present throughout, and Mazzotti’s sensational compositions are made even more beautiful for it.

Kicking off with the swirling samba-jazz-dance masterpiece ‘Agora Ou Nunca Mais’, the album hosts several groove-heavy Brazilian cult-classics including ‘Roda Mundo’ and ‘Eu Sou Mais Eu’. Deeper moments come in the form of the alluring future soul synth sounds on ‘Bairro Negro’ and ‘Sou’, and Mazzotti’s tender, hallucinatory version of ‘Feel Like Making Love’ (made famous by Roberta Flack) perfectly reflecting the idiosyncratic genius Mazzotti achieved with Bertrami’s visionary arrangements, and Romildo’s impeccable production approach.

TRACK LISTING

Agora Ou Nunca Mais
Roda Mundo
Acalanto
Cordao
De Um Jeito S
Eu Sou Mais Eu
Canto De Meditao
Feel Like Making Love 
Bairro Negro
Sou

The original Rio beach boy returns in style, with a new record of unabashedly feel-good Brazilian party music. Featuring Azymuth bassist Alex Malheiros (responsible for some of Brazil’s all-time funkiest low-end licks), a horn section including Valle’s go-to high-trumpeter Jesse Sadoc, and percussion master Armando Marcal, Sempre has all the masterful composition, exceptional musicality, and forward-thinking ideas you’d expect from the Brazilian titan, and it’s fresher than a fruity caipirinha in the Copacabana sunshine.

Updating Marcos Valle’s seminal boogie-era sound, "Sempre" spans ecstatic disco, cosmic samba, and late-night jazz-funk, drawing obvious comparisons to some of Valle’s late-seventies and early-eighties output. ‘Estrelar’ (1983), for example, an ode to the joy of exercise, has become one of the biggest Brazilian disco hits of all time. But lyrically the new album is more closely reminiscent of Valle’s progressive early seventies’ releases. Heralding love, tolerance and living in the present, while satirising political corruption, the new release recalls a time in which Valle, together with his brother Paulo Sergio, was writing subtly subversive lyrics in order to bypass the censorship imposed by the military dictatorship, which ruled over Brazil between 1964 and 1985.

The album marries compositional genius with pure pop perfection. From the blistering brass arrangements on up-tempo disco hit ‘Olha Quem ta Chegando’ and the infinitely classy ‘Vou Amanhã Saber’, to the nine-minute synth heavy instrumental funk stepper ‘Odiss ia’, which gradually morphs into an interplanetary samba jam, the songs are tightened and given an extra coat of gloss, by London based producer Daniel Maunick (son of Incognito frontman Bluey). More moments of boogie delight come in the form of ‘Minha Roma’ (a musical nod to the famed ‘Estrelar’), and the sunshine anthem title-track ‘Sempre’. Translating as ‘Ever’, Sempre is a testament to the continual drive for development and reinvention that has defined Marcos Valle’s astounding six-decade career.

Since the mid-nineties, Marcos Valle has been experiencing a renaissance with London based label Far Out Recordings, where his approach to music has remained, as always; decidedly open to new influences, possibilities and technologies. Sempre is Marcos Valle’s fifth album for the label, following 2010’s critically acclaimed Estatica.

TRACK LISTING

Olha Quem Tá Chegando
Minha Romã
Odisséia
Alma / É Você**
Vou Amanhã Saber
Distância
Aviso Aos Navegantes |
Sempre
Alma (Instrumental)**
Minha Romã (Instrumental)**

**CD ONLY

Since their debut album release in 1975, Azymuth have risen to rank alongside the world’s greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock ‘n’ roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature ‘Samba Doido’ (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid. Before they became Azymuth, Jose Roberto Bertrami (keyboards), Ivan ‘Mamao’ Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil.

Azymuth’s name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music - from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropic lia on home turf - the energetic young group were inspired and ready to move forward.

These previously unheard recordings took place between 1973-75 at Bertrami’s home studio in the Laranjeiras district of Rio de Janeiro. At the time of recording, there was nothing in Brazil, less the world that sounded anything like them, so perhaps it’s unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, and told in effect that the music was ‘wrong’. When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Joe recalls how he was “blown away by the freedom and intensity of the music, as well as the genius of the ideas musically.”

TRACK LISTING

Volume 1:
Prefacio
Castelo (Version 1)
Mel Da Cuica
Xingo
Laranjeiras
Equipe 68
Unknown Jam
Unknown Song For Mario Telles

Volume 2:
Duro De Roer
Manh
Tempos Do Paranha
Bateria Do M Mao
Quem Tem Medo
Xingo
Juntos Mais Uma Vez
Castelo (Version 2)

THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

SEMINAL 1980 POST PUNK UK TREASURE. LIMITED 180GRM VINYL FROM THE ORIGINAL MASTERS + LYRIC SHEETS ON INNER SLEEVE + DIE-CUT A4 STICKER. INCLUDES PAINT IT BLACK, WHITE MOUSE DISCO & KRAY TWINS - Originally released in 1980 on Deram Records (a division of Decca), this is the first time this seminal UK post-punk album has been reissued on vinyl. The Mo-dettes were an all-female band, formed in 1979 by guitarist Kate Korris (The Slits), Jane Crockford (Bank of Dresden), Ramona Carlier (Kleenex) and June Miles-Kingston. They were in the heart of the late 70s London art, film & punk scene with some of the members assisting Malcolm McLaren on the set of the film, The Great Rock ‘n’ Roll Swindle, as well as living in a community squat with Joe Strummer and Sid Vicious. Their branding was eye catching too, perhaps helping to pull in a wider audience, or it could have been influenced by some of the band members’ art backgrounds too. The album features a version of The Rolling Stones’ Paint It Black, a remake of their debut single White Mice (renamed White Mice Disco), plus a cover of Edith Piaf’s Milord, along with other original penned songs.The band toured for four years and they supported two-tone ska bands such as Madness and The Specials before breaking up finally in 1982. When the members went their separate ways, many continued to work and be associated with artists such as Fun Boy Three, Everything But The Girl, and The Communards, a.o.

Itibere Zwarg is an award-winning Brazilian bassist and the longest-serving member of Hermeto Pascoal’s ground-breaking ensemble ‘O Grupo’. Since their first meeting in 1977, the two have been closely collaborating to create a unique musical language: a genre-defying polyharmonic, polyrhythmic music, now widely studied by musicians and musicologists alike, known as ‘Universal Music’.

Back in 2001, Itibere led a workshop at Villa Lobos School of Music, with twenty-nine of Rio de Janeiro’s most exceptionally talented young musicians. The result was Pedra do Espia, an Amazonian orchestral masterpiece which is as difficult to categorise as it is fun to listen to. The record harnesses the pure creativity of youth and nature, creating a magical sense of innocence amongst the striking compositions and astonishing musicianship. Bringing the album to vinyl for the first time, alongside a full 16 track CD and digital release, Far Out Recordings are honoured to present this overlooked masterpiece from one of the greatest minds in Brazilian instrumental music. 

TRACK LISTING

CD

Disc 1:
Na Carioca
Bota Para Quebrar
De Cora O Aberto
Forr NoEncontro Dos Rios
Curupira
Arco-iris De Som
No Varal
Toada Cigana

Disc 2:
Doce
Vale De Luz
De Repente
Muito Natural
Ao P Da Lareira
Hora Da Prece
17 De Janeiro
Pedra Do Espia

LP

Na Carioca
17 De Janeiro
Forro No Encontro Dos Rios
No Var L
Vale De Luz
Bota Para Quebrar
Doce
Muito Natural
Ao P Da Lareira

After moving from Rio de Janeiro to New York in the late 60’s, Deodato would work as a composer, arranger, producer and keyboardist on nearing 500 records, under his own name and with the likes of Aretha Franklin, Earth Wind & Fire, Frank Sinatra, Kool & The Gang, George Benson, Tom Jobim and Bjork, to name a just a few.

But before that, a young Deodato had already cemented his status in Brazil as one of the country’s top musical minds. In the mid-sixties, when he wasn’t working with the likes of Roberto Menescal, Joao Donato, and Marcos Valle, Deodato recorded a string of albums with his lesser known instrumental samba jazz and bossa nova ensemble Os Catedraticos.

A masterpiece of hip Brazilian swing, Ataque reflects the deeper, groovier side of that magical, hazy sound of sixties Rio, with monster samba grooves backing big brass arrangements and scorching organ solos. Amongst Deodato’s own tracks, there are compositions by Marcos & Paulo Sergio Valle, Baden Powell and Luiz Bonfa, arranged for a big horn section, which includes trombone player Edson Maciel, and given an extra dose of cool from the inimitable drums of Wilson Das Neves and Ruebens Bassini on percussion.

One of Brazil’s most prolific artists, Eumir Deodato has racked up 16 platinum albums, won a Grammy (and been nominated for two more), and sold over 250 million records in the USA alone.

TRACK LISTING

Ataque
Os Grilos
Bom Parar...
Feitinha P’ro Poeta
Terra De Ningu M
Raz O De Viver
Tristeza
Samba Do Dom Natural
O Sol Nascera (A Sorrir)
Samba De Rei
At De Cavaquinho
Porque Somos Iguais

South London producer Ben Hauke takes a sonic excursion to South America via Lewisham for a new seven track release for Far Out Recordings. While littered with Afro-Latin percussion, and samples of obscure Brazilian, Cuban and Colombian records, Only Old stays true to Ben’s distinctly London identity, with a record that fluctuates between house, broken beat and instrumental hip-hop.

Having collaborated with the likes of Nubya Garcia and Joe Armon Jones, Ben Hauke stands at the electronic end of London’s new jazz movement. Currently working on new releases with more of a focus on live instrumentation, Ben titled the release ‘Only Old’ as it leans more heavily on his foundational approach to music making: an idiosyncratic, almost brazen sampling style in productions bursting with personality.

Always full of character and style, Hauke’s productions have seen him likened to Theo Parrish and Madlib, with an altogether physical approach to sound. Title track ‘Only Old’ is moody broken beat with eerie sampled vocals and piano. ‘Get Up To Get Down’ is a light n’ breezy summer house stepper, while Brazil-inspired ‘Runners’ sounds as if it was made for MF Doom.

TRACK LISTING

It Weren’t A Satellite
Get Up To Get Down
Only Old / Runners
You’re Not Deep
Digi Luv Ft. Eggrum
Bait Leo

London based Brazilian specialists Far Out Recordings venture further out to Uruguay to record a new album with fusion legend Hugo Fattoruso. After a twenty-year search for the man behind the cult 70s jazz-funk group Opa, Far Out are honoured to present Barrio Opa: a new work from Fattoruso and his team of world-class musicians, including the sensational Candombe drumming of the renowned Silva brothers.

Recorded at Sondor Studios, Montevideo, the album is the natural development of the original Opa sound, fusing Afro-Uruguayan rhythms, jazz harmony and heavy funk attitude, under Hugo’s unique musical vision.

Fusing Candombe (traditional rhythm of Uruguay) with rock, jazz, funk and other Latin American rhythms, Opa created a distinctive Afro-Uruguayan voice within the global jazz vernacular, influencing a generation of musicians throughout the seventies and beyond. Fattoruso also famously collaborated extensively with Airto Moreia, arranging and playing on a plethora of hit records including Fingers and I’m Fine, How Are You. More recently Fattoruso’s music has been sampled by the likes Flying Lotus and Madlib.

Recorded at the state of the art Sondor Studios in Montevideo’s iconic Barrio Sur district, the album features some of the world class musicians at the forefront of today’s Uruguayan jazz scene, including Hugo’s son Francisco Fattoruso on bass, Tato Bolognini on drums, Albana Barrocas on percussion and Nicolas Ibarburu on electric guitar. The album also features the Candombe drumming of the legendary Silva brothers, Mathias, Guillermo Diaz and Wellington, who give the album its Afro-Uruguayan identity, transporting the listener to Barrio Sur, the spiritual home of Montevideo’s Candombe heritage.

In Hugo’s own words “this is the sound of Opa today.” This is most prevalent on ‘Goldenwings’ the fresh take on the funk-fusion masterpiece which became an underground hit in London jazz clubs in the 80s ‘. The stripped back yet equally rip-roaring trio piece ‘Botijas’ is led by Hugo’s virtuosic piano playing and hypnotic wordless vocals, and backed by an inventive, heavy grooving fusion of Latin rhythms from Tato Bolognini on drums. The shining moments for the Silva brothers’ Tambor playing are ‘Candombelek’ - a beautifully moody Afro-Uruguyan groove with characterful rhodes and vocal harmonies - and ‘Candombe Alto’, a carnival-esque track, awash with soaring synth lead, wahwah guitar and pulsating keys.

TRACK LISTING

La Del Cheche
Botijas
Candombe Beat Funk
El Romance Del Sordo
Trenes De Tokyo
Candombelek**
Candombe Alto
Llamada Ins Lita
Antes
Goldenwings
For You To Be Proud**

**CD Only

Baiano & Os Novos Caetanos was a band formed by prolific and multitalented Brazilian comedians Chico Anysio and Arnaud Rodrigues. Satirising Brazil’s Tropicalia movement in the 1970s, the duo took a friendly crack at the likes of Caetano Veloso and psychedelic rockers Novos Baianos, with their righteous tropicalista alter-egos ‘Baiano’ and ‘Paulinho Boca de Profeta’ poetically denouncing the dictatorship while simultaneously mocking those who took themselves too seriously.

Jazz funk legends Azymuth play backing band with keyboard maestro Jose Roberto Bertrami also responsible for the arrangements on the album. Azymuth’s free and funky psych sounds combine with accordion, harmonica, brass and plenty of rural Brazilian rhythms, for a hugely varied album drawing on MPB, funk and soulful samba rock.

The album also features Orlandivo who co-wrote many of the songs, and renowned multi-instrumentalist and producer Durval Ferreira.

TRACK LISTING

Vo Bate Pa Tu
Nega
Cidadao Da Mata
Urubu Ta Com Raiva Do Boi
Aldeia
Ciranda
Folia De Rei
Veio Zuza
Selva De Feras
Tributo Ao Regional
Dendalei

In 1975, the prolific and multi-talented Brazilian comedians Chico Anysio and Arnaud Rodrigues recorded an album based on the protagonist of one of their most celebrated TV series.
Sporting a dodgy moustache and an equally troubling haircut, Carioca conman Paulo Mauricio Azambuja (played by Anysio) would flog his own mother’s leg if he could, and his ever-ridiculous scams are inevitably always destined to fail. This soundtrack/musical re-imagining of the series combines jazz-funk with samba soul and MPB, with the help of cult Brazilian trio Azymuth. Keyboard maestro Jose Roberto Bertrami, who arranged the album alongside renowned conductor and composer Jose Menezes, elevates the groovy oddball sound to another dimension, with his set up including Fender Rhodes, Arp Strings, Arp Omni, Clavinet and Hammond organ. Remaining Azymuth members Ivan Conti (drums) and Alex Malheiros (bass) provide the signature Azymuth foundation, and saxophone prodigy Victor Assis Brasil and legendary multi-instrumentalist producer Durval Ferreira also feature.
As well as its distinctly comedic character, what makes the music so special is the coming together of traditional samba roots, and Azymuth’s ahead-of-itstime psychedelic funk influence. Each side ends with a comedy monologue, complete with live audience laughter, but before that you get seven tracks of weird and wonderfully emotive Brazilian groove music.

TRACK LISTING

Nega Brecho
Ao Bililico
Tema Do Azambuja
Monologo No. 1
Maristela
O Poste Da Rua
Verde
A Turma
Monologo No. 2

James Heather drops his debut album on vinyl for the first time via Ahead Of Our Time, Coldcut’s first label and playground for free expression and experimentation. A collection of nine conceptual solo piano pieces inspired by real world news events. The album art by Suki features layers of Indian ink bled into newspaper print. It also plots the nine latitude and longitude locations of each story’s origin. For fans of Jóhann Jóhannsson, Poppy Ackroyd, Max Richter, Nils Frahm.

TRACK LISTING

Ruqia
Empire Sounds
MHope
Biomes
Last Minute
Change Of Heart
Pathos
Teardrop Tattoo
Kraken
Blueprint

Far Out Monster Disco Orchestra returns with "Black Sun", its second full-length album of 100% original, unadulterated disco sophistication, featuring all three original members of pioneering Brazilian jazz-funk trio Azymuth, a full orchestra with arrangements split between Arthur Verocai and Azymuth’s late maestro Jose Roberto Bertrami; plus members of the legendary Rio funk group Banda Black Rio.

Since its critically acclaimed self-titled debut album in 2014, the FOMDO imprint has released a string of remixes by some all-time greats of dance music, including John Morales, Theo Parrish, Mark Pritchard, Marcellus Pittman, Andres, Dego, Volcov, Kirk Degiorgio and Al Kent. To huge effect in clubs and festivals around the globe, some of the more recent remixes teased the new album material, which for the first time, is presented in its original, soul-heavy incarnation, alongside instrumental versions highlighting the album’s stunning arrangements and compositional brilliance.

Far from a throw-back - with disco music firmly entrenched in the modern club vernacular - Black Sun is ecstatic dance music at its finest.

TRACK LISTING

Step Into My Life
Black Sun
Flying High
Give It To Me
The Two Of Us
Walking Bass (In The Street)
Where Do We Go From Here
Step Into My Life (Instrumental)
Black Sun (Instrumental) 
Flying High (Instrumental)
Give It To Me (Instrumental)
Where Do We Go From Here (Instrumental)

Nomade Orquestra return from the stratosphere via Brazil with their second offering: "Entremundos (Between Worlds)". Gazing outward through a kaleidoscope from the heart of Sao Paulo’s jazz scene, the collective consciousness of the ten-man orquestra has dreamt up an adventurous amalgam of earth’s most far reaching musical cultures. Recorded at Red Bull Studios, Sao Paulo, Entremundos is like a cosmic musical playground where Ethio-jazz, Indian classical and Oriental sounds dance around Afro-Brazilian roots rhythms and Northern hemisphere jazz, funk, soul, library music and hip-hop influences. The sheer vastness of the album is astounding, Nomade Orquestra have quite literally conquered the world in sound. Nomade Orquestra are some the most accomplished musicians in their city. They’re also avid record collectors, citing the coming-together of their expansive musical knowledges as key to their unique sound. Album opener ‘Jardim de Zaira’ - a tribute to the neighbourhood on the outskirts of the famous ABC region, where the band meet and rehearse - hosts a playful unison of vibraphone, guitar, horns and keyboards reminiscent of Stereolab’s funkiest late ‘90s output. ‘Felag Mengu’ lies somewhere between the groovy, brooding ethio-jazz of Mulatu Astatke and Tinariwen’s hazy desert Rock, and ‘Olho do Tempo’ is another enchanting incarnation of the band’s impossible to define brand of global roots music. The album’s wildest moment comes from the roaring off-road, big-band joy-ride ‘Rinoceronte Blues’ with hill-billy harmonica, soulful organ stabs and soaring horn arrangements further highlighting the depths of Nomade Orquestra’s endless span of influences.

TRACK LISTING

Jardins De Zaira
Estrada Para Camomila
Felag Mengu
Olho Do Tempo
Terra Fértil
Rinoceronte Blues
Vale De Boca Seca
Madame Butterfly
Deliriuns

A true studio visionary and son of Incognito's Jean-Paul 'Bluey' Maunick, Daniel Maunick virtually grew up behind the mixing desk and worked his way through the scenes of drum n' bass, acid-jazz, disco, samba, deep house and beyond. As Far Out's in-house producer his work is a key component in the consistency and transience of the label's sound, with key albums include Azymuth's Fênix, Marcos Valle's Estatica, Sabrina Malheiros' Dreaming and Far Out Monster Disco Orchestra. His latest credit on the catalogue is the next chapter of his Dokta Venom alias, " "Mood Swings". Each track brings you a visceral dancefloor experience both sonically and structurally. Opener "See The Sun" recalls an elevated, cloudy ether, with each kick drum another step up to the sky. Title track "Mood Swings" deploys components of broken beat, garage, house, IDM and boogie, but shrouds them into a hazy cloak more akin to the futuristic skeches of Joy O & Boddika or Pariah. Whilst keeping the same intensity, "I Owe U Something" ups the tempo and swings the mood. Propulsive percussion blurs the acoustic with the electric, glowing synths and anguished vocals formulate this eruptive full-floor belter that lodges somewhere in between early Pepe Bradock and Azymuth. Finally "Soul Krush" rolls out some 100% authentic deep house tackle for the heads and dancers alike, grooving along with delicate keys, infectious drums and heavy bass. Ace stuff indeed. 

STAFF COMMENTS

Matt says: Evocative collection of tracks that fall somewhere between 1080p, Mood Hut, 100% Silk and Proibito. Both dreaming and dancing catered for in equal measure.

TRACK LISTING

See The Sun
Mood Swings
I Owe U Something
Soul Krush

The Far Out Monster Disco Orchestra is Far Out’s in house Brazilian disco super group. The band features the arrangements of Azymuth’s late Maestro José Roberto Bertrami and the legendary Arthur Verocai alongside a host of other Brazilian musical icons. Having graced the most recent FOMDO 12” release with his signature touch, Detroit veteran Andrés (La Vida / Mahogani) returns on the imprint with an alternate take on the same track. Taking the classy disco cut ‘Where Do We Go From Here?’ into moodier, deeper territories, with freshly chopped vocals and a hazy hip-house bounce, it’s a warm late-night stepper, laced with classic OG Detroit funk. With a world renowned disco collection and over thirty years’ in the DJ and production game, Italy’s Luca Trevisi, aka LTJ Xperience (Irma), proves yet again just what a dab hand he is with an edit. Bringing out yet more colours and textures from the FOMDO original, his rework is pure sunshine-hedonism inducing disco magic, with just the touch of dubby hypnotics that might well cast some minds out to the Balearic Islands.

This fifth instalment of Ashley Beedle's Back To The World label sees the esteemed selector rally the troops and present four killer remixes of the enigmatic and bohemian Waterson. On the A1 KDA provides his trademark pulsing bass – a sound that recently propelled him to No. 1 with Tinie Tempah & Katy B - delivering a rolling dub remix with nods to early-90s house. Hitting the dancefloor hot on his heels, label head Ashley Beedle works his house magic with a King Street inspired remix which pays tribute to the classic sound of Levan and Knuckles. On the flip, Horse Meat Disco's Severino teams up with regular partner in crime Nico De Ceglia to give "Tell Me" the proto-house treatement with a mix which is both raw and full of the uplifting and urgent energy of disco. Fast emerging as one of Europe's most in-demand deep-house producers and a leading light in Moscow's underground house scene, Lay-Far re-works the track with mesmerising depth and soul, closing the EP with a version perfect for fans of Motor City Drum Ensemble and Max Graef alike.

THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

A super disco project to celebrate RSD 2014 and Far Out Recordings 20th year! Made with love by Far Out's Favourite artists including late legend 'Maestro Jose Roberto Bertrami', along with 'Arthur Verocai', 'Alex Malheiros' & many of Rio's finest musicians including a full orchestra. This has been recorded & mastered to give you the full vinyl experience & is the first album of an ongoing series. The record was produced in the best studio in Rio de Janeiro, with all old equipments including 2" Ampex tape, Neve compressors, SSL desk and needless to say all the best delicate treatments to retain that analogue feel and sound along the way to this release.

TRACK LISTING

LP 1:
Mystery (FOMDO Feat Arthur Verocai) /
Keep Believing (Can You Feel It)
A Disco Supreme (FOMDO Feat Arthur Verocai)
The Last Carnival
LP 2:
Vendetta
Keep Believing (Can You Feel It) (SS Translation By Theo Parrish) Special Radio Edit
Don't Cha Know He's Alright (JR Bertrami / J Davis) /
Freefall (JR Bertrami / JDavis) /
Mystery (Instrumental) (A Verocai / J Davis)

Trin Tran: The one-man band without a plan, hurtling through the songiverse without a map or compass. For years now, Trin Tran has been creeping out from deep space (America’s Midwest) and bouncing songs off satellites. These transmissions are a testament to his lovely weirdness. This new EP is an injection of strange-pop—less garage than his recent full-length on Ty Segall’s imprint God? Records and more the bastard child of Duran Duran and Bruce Haack.

Riskier vocal delivery, heavier synths. Stronger, swifter, silver-er. Mute Records would have licked their glossy lips over this meal in the early ’80s. Recorded by Eric Landmark of San Francisco scrapsynth alums Numbers and Ricky Reimer of Madison, WI, angularities Transformer Lootbag, mixed and mastered by John Dietrich of Deerhoof, Far Reaches truly harkens from the 6th Dimension. It’s a new era for the mask and its one-man armada.

“New Jersey-born Alex Bleeker is an old soul. For his sophomore album, How Far Away, he lets that come into play fully. Over eleven tracks, he deals with the autumnal phase of lost love, the point after the grieving subsides and you start figuring out what you’re supposed to do next. As with his last album, Bleeker cobbles together a ragtag collection of ‘freaks,’ including Mountain Man’s Amelia Meath, who provides gorgeously weighty backing vocals on four tracks, Woods’ Jarvis Tanviere, Real Estate’s Jackson Pollis, Big Troubles’ Sam Franklin, among plenty other like-minded musicians who lend sparkling instrumental flourishes and a full-bodied backbone to Bleeker’s pained yowl.

“Album opener ‘Don’t Look Down’ feels like a mission statement for the rest of the record. Over upbeat guitar jangle and smooth organ runs, Bleeker’s voice cracks and lilts: ‘Don’t look back on the way we met / Don’t look back at me now / Don’t retract all the things you’ve said / Don’t back out on me.’ In the hands of plenty other songwriters, this would come off as self-pitying, but Bleeker just seems wise.

“The key to How Far Away isn’t just Bleeker’s lyrics, which [are] both universal and intensely specific, but also the relaxed dynamics of the players. Bleeker is a jam band fanatic, and he takes the core ethos of The Grateful Dead—let things unfold naturally—and distills it into concise pop songs: tracks like ‘All My Songs’ and ‘Rhythm Shakers’ are brief, but they shift from crystalline guitar to weighty bass effortlessly, with Bleeker working as a heartbroken bandleader, keeping things moving organically. Nothing is hurried, but nothing overstays its welcome either. Though How Far Away is packed with singles, the album works best as a narrative about the dissolution of a relationship. You could call it a breakup record, but that wouldn’t quite be giving it enough credit. Instead, it’s about growing older and figuring out what you need to do to keep moving. It’s never overly sad or angry or obsessed with itself, it’s just true.” —Sam Hockley-Smith

STAFF COMMENTS

Darryl says: Sophomore album from Real Estate's bassist Alex Bleeker. Whilst recalling the sun-dappled jangle of Real Estate, 'How Far Away' brings us an offbeat selection of songs ranging from delicious heartbroken Americana to ramshackle psychedelia with plenty of concise outright indie-pop inbetween.

TRACK LISTING

1. Don’t Look Down
2. See You On Sunday
3. Leave On The Light
4. Home I Love
5. Time Cloud
6. Who Are You Seeing?
7. Rhythm Shakers
8. All My Songs
9. Steve’s Theme
10. Step Right Up (Pour Yourself Some Wine)
11. Love Fadeaway

Following on from "Visions Of Dawn" - the 1976 acid-folk lost classic - "Upside Down" stirs up a time when people dared to make remarkable liberated records like this. In advance of the electric final instalment "Broken Bridge",  Mauricio, Nana and guest vocalist Kay Lyra - who completes the present day folk trio - combine floating harmonies and delicate string-led psychedelia. Maestro’s moving compositions melt together hypnotising strings with his own darting acoustic guitar and wonderfully languid vocals. The master of percussion Nana Vasconcelos brings an endless concoction of exotic instrumentation to stirring life as strange mind-bending vocals move in and out of focus. Nana and Mauricio reunite on this modern acoustic masterwork full of endless simple pleasures.

"I Am Very Far" is a startling break from anything this band has done before. The band’s Will Sheff emerges not only as a songwriter of the highest caliber, but a producer and arranger of singular vision. "I Am Very Far" is monolithic and darkly ambiguous.

Sheff contributed vocals to The New Pornographers’ album "Together", wrote a song for Norah Jones’ "The Fall", and helmed the Roky Erickson record "True Love Cast Out All Evil", for which his album notes received a Grammy nomination.

The writing process for "I Am Very Far" produced 30 or so songs, which he narrowed down to 18, recorded in a series of short, high-intensity sessions, each in a different location, each employing completely different methods than the one before it.

For songs like "Rider" and "Wake And Be Fine", Sheff gathered together a massive version of Okkervil River – two drummers, two pianists, two bassists, and seven guitarists, all playing live in one room – and led them on a week of live-in-the-studio marathon sessions, performing a single song obsessively over and over for as many as 12 hours to capture just the right take.

The debut album from one of Brazil's most exciting young solo artists. A beautiful bossa inflected record that showcases Vilar's classic songwriting flourish and modern spark. A special talent. The latest addition to Far Out’s growing stable of new Brazilian talents Rafael Vilar fits in perfectly with bossa-influenced close friends Sabrina Malheiros and Clara Moreno. On "Studies In Bossa" Vilar moves between Portuguese and English vocals through tracks that evoke the great bossa nova, folk and samba of 60s and 70s Brazil whilst incorporating global jazz and electronica.

Recorded with musician friends in London the relaxed atmosphere allowed Vilar’s beautifully unhurried songs to flourish. Producer and bossa nova enthusiast August Jacobsen, best known as Hunsley & Guz and resident DJ at some of London’s biggest clubs such as Fabric and The Egg, provided the electronic elements especially present in "Solidao", which mixes synthesizers with the accordion. That zestful quirky edge comes out through the album with the sounds of toys, books, keys and coins in the pocket blending perfectly with more traditional instrumentation. "Studies in Bossa" draws on many of the singer-songwriter’s influences; as diverse as Jewel and Tom Waits’ folk; samba from Noel Rosa; and original bossa nova from João Gilberto and Chico Buarque. Raf’s love of jazz came from his uncle Ivan Conti who is the drummer for Far Out legends’ Azymuth, hence his eventual link to the label.

With this recording Vilar is unveiled to an international audience. Until now undiscovered, the quality and beauty of these recordings is undoubted: a rare nu-bossa star has arrived.

"Far" continues to reveal new layers in Spektor's songwriting as she pursues the next level in her inimitable musical style. With her uninhibited imagination and her hands on approach in the studio, "Far" not only succeeds with thirteen impressive and accessible tracks, but it spotlights Spektor's remarkable gift to craft intelligent and refreshingly honest odes to life. Four exceptional producers collaborated with Spektor on this album: Jeff Lynne (ELO, The Traveling Wilburys), Mike Elizondo (Dr Dre, Eminem), David Kahne (Paul McCartney, The Strokes) and Jacknife Lee (Weezer, REM).

Following on from previous "Brazilka" selectors by dance music pioneers Kenny Dope and 4hero, Far Out Recordings decided to peer further down the periscope and brought in Manchester based producer and psychedelic rock librarian Andy Votel for a high octane and nonstop Brazilian block party mix. Votel's twisted tale unearths a vast array of weird and wonderful musical stories. Expertly squeezed, segued and sequenced together, Votel's rapid fire journey ventures into both the fondly remembered Tropicalia period and a period less well known, characterised by obscure acid rock, freak folk and other mutations of Musica Popular Brasileira (MPB).

"Too Far Gone" is the second 'mood' EP by XIIhundredarrows. The feel of this EP is much darker than its predecessor "Circles and Butterflies", but still uses a lot of the trademark-layered guitar sound that we have heard in previous recordings. This is the first XIIhundredarrows EP to use vocals and showcases Jon Lawton's brutally honest lyrical content. The EP comes in a new 'ejector-case' and is completed with artwork also by Jon.

The second release for Epic was still granite hard and the arrangements every bit as engagingly eccentric as their opener "Tin Cans With Strings To You", but it was more textured. The little extra effort demanded of the listener was definitely worth it though - and if you're prepared to take my word for it enough to get your sticky hands on a copy of this passionate, multilayed 1998 groundbraker, you'll find out why.

"Far From Nowhere" was produced by the legendary Ed Stasium (Ramones, Pennywise, 7 Seconds, Talking Heads) and delivers 12 fast, fun and melodic punk rock songs from SoCal punk band Slick Shoes. It's not only their shoes which are slick, these songs slip out like a glib indiscretion with clever, cheeky lyrics that reveal an underlying heartache.

If you like bands such as The Chameleons, The Sound and even (gulp) Big Country then you'll enjoy what Micawba have to offer. Based in the North East this young band have a retro sound and their songs have the driving-indie guitar sound of the Counting Crows or Puddle Of Mudd but the vocals are more like a poor man's Richard Ashcroft.

"Banging Your Head Against A Brick Wall" typifies the debut full-length album from Bristol based quintet, Five Knuckle. If you don't fancy doing it to yourself then they'll be happy to do it to you, containing 14 tracks of hardcore punk reminiscent of Anti Flag and Minor Threat at their rawest.

Back in stock the 1999 album by one of of the best, most tuneful of the new hardcore bands. This is an absolute cracker.