Vinyl Lovers present a reissue of Os Mutantes’ A Divina Comedia Ou Ando Meio Desligado, originally released in 1970. This was the third album from Os Mutantes, the geniuses of wacked out Brazilian psychedelic rock. They may have been trying to pay homage to their better known icons back in the States, but in doing so they created something that went beyond all that until, 30 years later, they became the ones that everyone was trying to imitate. This album, further testimony to their limitless creativity and considered by many to be their best, was recorded during the height of the Brazilian military regimes crack down on artists, and fellow members of the Tropicalia movement, Caetano Veloso and Gilberto Gil had already been sent into exile in the UK. 180 gram vinyl.
LP version. Features four selections from the double-CD version, Indonesian Electronic Music 1979-92. Fascinating and unreleased before music by Otto Sidharta, pioneer of Indonesian electronic music. Electronic compositions that integrated natural sounds and urban sounds to this extent were extremely rare at the time they were recorded, which in turn gives them a unique form of intensity. This collection is released as an entry in Sub Rosa’s Early Electronic series.
Otto Sidharta was born in Bandung, Indonesia November 6, 1955. In 1978 he studied music composition in Jakarta Institute of Arts under guidance of Slamet Abdul Sjukur. In 1984 he continued his post graduate study in composition and electronic music with Professor Ton de Leeuw in Sweelinck Conservatorium Amsterdam. In 2015 he started his doctoral study at Institute Seni Indonesia Surakarta, finishing in 2016. Sidharta’s interest in using environmental sounds and synthetics sounds to express his musical ideas developed when he was a student at the Jakarta Institute of Arts. He performed his first electronic music piece, “Kemelut”, based on water sounds in the First Indonesian Young Composer Festival (Pekan Komponis Muda) in 1979. In 1979 he begin to collect some nature and animal sounds on Nias Island, Borneo (Kalimantan) jungle, Riau islands, and other remote places. These sounds were used as material for some of his works such as “Ngendau”, “Hutan Plastik”, and “East Wind”. Otto Sidharta is still alive and performing around the world.
2017 release. It is now possible to see a big picture. This means there is a timeline with enough years and developments since this sound emerged on its own. Lycox is of course part of a newer generation that keeps adding to the transmission, but he is already inspiring a younger set of producers. Sonhos & Pesadelos helps materialize a multiverse of bold, shiny chrome architecture, staying true to the original kuduro backbone while Lycox organizes new forms, song structures and even artificial life. If you can’t call it “raw” it’s only because this is mental space translated into sound. The physicality of the music is but one element in Lycox’s ambitious take on dance music, although we should really say pop music, such is the melodic and harmonic forces at work. “Solteiro” could be just an ambient beauty but the abnormally long four-minute mark reveals layers of masterful song crafting well outside what some might still be tempted to classify as “ethnic”. Not a classic seaside romance. Features PuTo NeLo, Puto WilsoN, and MIX-BwÉ.
“His ear for odd melodies suits his bright palette, which maintains pop intrigue while remaining unconventional, intriguing and occasionally confusing.” –Resident Advisor
“He might have the sharpest ear for melody of all the Príncipe crew, too, often prioritising catchy tunes over complex drumwork, but that doesn’t mean it’s not tough – the midsection is full of heavy bass and drums, peaking with ‘Quarteto Fantástico’, a track as bug-eyed and disorienting anything we’ve heard from DJ Marfox or DJ Nigga Fox.” –The Wire
“‘Solteiro’ is an uncharacteristically gentle and pulsating tune that feels — more than anything — romantic in its rhythm. Truth be told, it’s quite beautiful. And it follows lots and lots and lots of heretofore phenomenal music from the label.” –Tiny Mix Tapes
2017 release. Txiga means something like “come close” and that takes you to the heart of the matter. Although especially apparent in the tarraxo style they are so connected to, the expression reveals unbounded enthusiasm for music, taken from the roots up, wherever the feeling projects it to. And so Príncipe felt this crew had to come across in a special way. Three seven” records, one for each of the main producers represent three branches of the same tree. Features K30, DJ NinOo, and Puto Anderson.
2016 release. Niagara started 2016 firmly committed to their own Ascender label, having released a first 12″ late in 2015. A string of stellar CDRs guaranteed their relevant (and private) output became available outside their studio. The consistency is such that it was no effort selecting four additional tracks to assemble a third EP on Príncipe. Opener “Asa” is strong on keys, suggests a cool jazz walkabout where the machines and other instruments seem to be jamming together without interference. This broadens the horizon of whoever thought they are a house band; As countless other dance tracks, “IV” is built around a steady kickdrum, supporting a succession of vibes hitting left and right, obeying only the illogical architecture of Niagara’s sonic world; “Amarelo” is the longest track in the set. Very physical and expansive beats, a funky guitar groove, deep bass tones and it ends just like that. A cascading drum machine holds its own, then comes a wandering flute and passing waves as jets in the sky. Trippy and brilliant, “Laranja” changes coordinates and points to a fresh destination.
“The trio’s house music remains deeply eccentric, though, its sonorities bright and its rhythms ramshackle. Their third EP for the label, São João Baptista, a scrawl of clapped-out drums and spidery guitars, highlights their idiosyncrasies. Sonically, the trio have found new ways to make the analogue and the electronic sit well together; stylistically, their mutant-funk tendencies are given freer rein.” –Resident Advisor
2016 release. DJ Nervoso’s self-titled release on Príncipe.
“It’s incredible how Nervoso and many of his compatriots seem to be able to make challenging fascinating and unexpected dance music from the simplest of ingredients.” –Cyclic Defrost
“He’s barely bothered to process his hits, there’s a minimum happening at any point, and somehow the result is hard, knocking dance music that could wake the dead. If you’re getting sick of fussy production and tracks built from tricks more than ideas, Nervoso is the antidote.” –The Ransom Note
“Much of batida’s appeal is its hyped energy, but some of the deepest grooves here draw from the slower, sexier pace of tarraxinha. It’s inspiring to hear how a keen sense of syncopation can do so much with so little.” –Resident Advisor
“Much of the album operates in this modular style of propulsive, lucid minimalism. Nervoso generates drama by varnishing and stripping layers of syncopation and texture from his tracks, revealing works that have been sheared to the bone, sinew and rhythm replacing melody and flesh. These are virulent, mutant dance tracks.” –Tiny Mix Tapes
2016 release. DJ Marfox’s Chapa Quente on Príncipe. MixMag listed Chapa Quente as their 2016 April Dubstep/Grime Album Of The Month, giving it a 9/10 rating.
“Lead single ‘2685’ is a euphoric interweaving of 1990’s techno, dangerously speeding flute melodies and an artillery of drums firing like automatic weapons. Needless to say, it’s unique.” –The Wire
“Few songs feel more like being catapulted through the air at tremendous velocity.” –Pitchfork on “2685”
“Yet this is the miracle of Marfox. His ability to shift time and space is unsurpassed. We knew he was one to watch in 2011, yet now it’s 2016 and I wouldn’t dare my eyes or ears away for a minute. Something important is happening.” –Cyclic Defrost
“DJ Marfox returns to his city’s Principe Discos label with Chapa Quente, a scorching six-track affair that demonstrates just how multifaceted this music can get. But it’s his uptempo cuts like ‘Cobra Preta’ that make Marfox such a vital artist, one whose potential has only begun to be revealed.” –Vinyl Me, Please
“Chapa Quente might be modestly sized, but it’s a very satisfying piece of work. Selfishly, I almost hope that the EP doesn’t continue Marfox’s rise to global prominence. How good is this? I don’t want to hear a million producers reproducing it till the inspiration is completely sucked dry.” –4ZZZFM
2015 release. Elusive underground metakuduro legend from the Lisbon suburban area, Normal Nada, aka Qraqmaxter CiclOFF, aka Erre Mente — every past moniker is like a shed skin he kissed goodbye — is a special kind of cosmogonical pirate exploring chemical balanced regimes of wake. Sleep and the seductive dimensions between both.
2015 release. Kolt, Noronha, and Perigoso return to Príncipe with a whole EP. Blacksea Nao Maya (BNM) are based to the south of Lisbon, across the river Tejo. The crew started as a family affair with Kolt and his uncle DJ Joker around 2008. Noronha (Kolt’s brother) and Perigoso joined a year later. While Joker since then pursued other avenues in life, all three remaining members committed themselves to the game they had chosen when still dancing to the deejays they admired: be the best deejays and producers they could be. The record opens with “Batidongoo”, an earlier track by Kolt and Noronha. Tense, spanking percussion and electronic tones, sounds like slower funaná crossed with the rudiments of kuduro; we think this one opens new ground; Next up, DJ Perigoso drops “Macobayou”, a fast, futuristic batida track with plenty of drums to hang on to (or lose yourself to); “Assabakuse” keeps the pace and adds emotion in the form of clipped guitar, the actual ruler of melody in here. It becomes irresistible in no time; Side B begins by spreading pure love. “We Send This” does sound like a gift to us listeners. Closer to house in tempo, this one reflects classic African music, sure, but also a synthetic, modern type of R&B sound in its layers of ambience. Short, direct, beautiful; “Perseguição” (translates as “Chase”) soundtracks a run through the jungle, over fallen trees, branches, around big rocks and in sight of wild animals. What a ride; “Comandante Em Chefe” has an undulating melodic hook occupying the whole duration of the song. Again, like slowed-down funaná accordion and it rises clearly above the usual complex percussive layers. It later gains even more artificial tones and echoes. Alien rumba for ballroom dance matinées.
Fantome Phonographique present a reissue of Ustad Abdul Wahid Khan’s self-titled release, originally released on Columbia in 1966. Even though the original recordings are crackly and in low fidelity (but also deeply charming) it seemed necessary to repress this record for its immense historiographic value. These recordings are made available here with new mastering, in as clear fidelity as possible. Fans of Indian classical music will no doubt know the name Ustad Abdul Wahid Khan. He founded the Kirana gharana musical family with his cousin Abdul Karim Khan in late 19th century, which was one of the most prolific and revered gharanas in Hindustani classical music. In addition, serious American minimalist scholars and fans have also been heard echoing his name, linked to that of Pandit Prân Nath, his student for over twenty years. It was Abdul Wahid Khan who pushed his pupil Prân Nath into exporting the techniques of their music school, which brought Prân Nath to the US where he drastically influenced most of the then-emerging avant-garde New York scene. Terry Riley, La Monte Young, Rhys Chatham, Jon Hassell, Yoshi Wada, Marian Zazeela, Henry Flynt, Charlemagne Palestine, and more were Prân Nath’s students and in some cases close collaborators. It is therefore clear how important it is to gain deeper understanding of the music of Ustad Abdul Waheed Khan. A celebrated singer and sarangi player, Khan forbade recording of any of his performances to avoid imitation by other singers. Only these three pieces survived, recorded in secret for a radio broadcast in 1947, just two years before the singer’s death. A truly stunning document that is essential to understanding the modern era of Hindustani classical music, whose influential reach is immeasurable. Edition of 500.
2018 limited repress. Quadruple LP set. 180 gram vinyl presented in two gatefold sleeves, inside a heavy card slipcase with a 12″ square, 20-page, saddle-stitched booklet on art paper.
Ravishingly beautiful, achingly precious songs and instrumentals, ranging from two performances by the Royal Court Orchestra in 1906 — with futuristic, overlapping trumpets and exquisite clarinet improvisation — through to a hauntingly soulful Hāfez setting by Moluk Zarrābi of Kāshān, from 1933. There are eight selections from more than 300 recordings made in 1909 above the Gramophone Company offices in City Road, London EC1, by the Persian Concert Party. Unrest at home had compelled the group to travel in order to record, paying its way with shows in Baku, Constantinople, Vienna, and Paris. Its music is a striking, experimental combination of European and Iranian elements, impressionistic and exotic, with chimes, castanets and rattles. There is an arrangement of traditional Persian music for pipe-organ; and rueful, imploring, besotted love-songs. “I am crazy with envy of the dress asleep in your arms and the oils rubbed into your skin.” A setting of Rāheb’s poetry by Moluk Zarrābi is drawn from 136 titles recorded at 1925 sessions in Tehran, when Iranian women were for the first time concertedly accepted as serious professional musicians, without the connotation of prostitution. Such was the social stigma borne by musicians, especially female, several of our singers hid their identities behind partial or assumed names. “Parvāneh,” for example, “Butterfly” — represented by her interpretations of Sa’di and Hāfez, with self-accompaniment on setar, a three-stringed lute (“seh,” three; “tar,” string), Iranian ancestor of the Indian sitar: “I am the slave of love…” And Helen, with some boozy Hāfez wisdom: “Keep your cards close to your chest. Kiss nothing except the lips of your beloved and the rim of a cup of wine. Let no one judge you.” Moluk Zarrābi — together with Qamar-ol-Moluk Vaziri — featured on more than half the 1925 recordings. On her return to the studio the following year, she was accompanied on tar by Mortezā Ney-Dāvud, amongst the country’s most acclaimed musicians and composers of all time, from the Jewish community of Tehran. It sounds like another stupendously gifted Iranian Jewish musician — Yahyā Zarpamjeh — accompanying Akhtar. Alongside one of these duets, two of Ney-Dāvud’s solo recordings from the same sessions are instrumental highlights of this epic set, besides a series of staggering improvisations by Abd-ol-Hoseyn Shahnāzi, sublime ney and kamancheh playing by Mehdi Navā’i and the Armenian Hayk, and an anonymous tar solo from the South Caucasus, captured in Tiflis in 1912, red-raw and rocking. The music was restored from 78s at Abbey Road Studios in London.
2017 Awesome Tapes From Africa
A1 ትዝታ = Tizita 10:00
A2 አዲስ ናት = Addis Nat 4:34
A3 ጉም ጉም = Gum Gum 6:47
B1 አንቺሆየው ለኔ = Anchi Hoye Lene 7:06
B2 ላላ በሉ = Lala Belu 4:42
B3 የፍቅር እንጉርጉሮ = Yekfir Engurguro 6:15
2018 Awesome Tapes From Africa
Maya Deren (1917-1961) was a Russian-American filmmaker and one of the most important voices in avant-garde cinema of the mid-20th century. When she decided, between the end of the 40s and the beginning of the 50s, to make an ethnographic film in Haiti, she was criticized for abandoning the avant-garde film world where she had made her place, but she was ready to expand to a new level as an artist. Deren not only filmed, recorded and photographed many hours of voodoo ritual, but also participated in the ceremonies. It was in working on this film that Deren recorded the Haitian musicians found on these sides originally released in the very early days of Elektra records. ‘Voices Of Haiti’ (here repressed as a 12″ with new mastering) -a beautiful artifact of percussion and chant heavy ritual music- is one of the earliest and best Western ethnographic documents of voodoo culture in Haiti. It is unmissable both for its historical value and for the beauty and spiritual power of the music it contains.
Re-issue on Cree Record of an early Michael Boothman and Andre Tanker project, featuring the band Family Tree from 1972. ‘Tabu’ and ‘So Dey Say’ are Family Tree’s only recordings. Limited edition of 500 copies.