SEALED

Limited 180 gram vinyl LP with obi-stripFar Out Recordings presents the peerless and criminally undervalued Quartin catalogue, beginning with the reissue of Jose Mauro's forgotten masterpiece 'Obnoxious'. Far Out Recordings presents the peerless and criminally undervalued Quartin catalogue, beginning with the reissue of Jose Mauro's forgotten masterpiece 'Obnoxious'. Over the course of the 60s, Roberto Quartin released more than 20 albums in Brazil on his label Forma, by artists including the likes of Eumir Deodato and Quateto Em Cy. Selling the rights of Forma to Polygram in 1969, Quartin struck out for pastures new at the dawn of the 1970s with the launch of his self-titled label. Significant works and high-water marks for Brazilian music overall followed in that decade's first year, with Victor Assis Brasil Plays Antonio Carlos Jobim and the aforementioned Obnoxious. These rare and unique gems in Brazilian music, difficult to categorise yet compellingly haunting, have for too long gone unheard. Far Out Recordings hopes that listeners out there, be they seasoned Brazilian music aficionados or simply those in thrall to bewitching, hypnotic powers of music from the outer reaches, will appreciate and enjoy these works as much as we appreciate having the opportunity to present them to you.There is very little information to be found about Jose Mauro and as a result those searching for some kind of insight on the man behind the music must attempt to glean what they can from the music itself. In a musical landscape in which the context from music emerges can often overshadow the music itself, Jose Mauro is an increasingly rare phenomenon. Mauro is said to have died in a car accident shortly before the release of ‘Obnoxious’ in 1970, a fact that could have lent his brief musical career a touch of mythology were it not for how scant the details concerning any other aspects of his life are. All tracks on the record were composed by Mauro and Ana Maria Bahiana… Production on the record was cancelled after Mauro’s death and it was never sold commercially until it was rereleased decades later. What appeal does Mauro’s music stand to hold to today’s listeners, forty-something years removed from its conception? Simply put, there is very little else, even within the realm of contemporaneous Brazilian music employing similar tropes, that sounds much like it all. Take the title track of the ‘Obnoxious’ LP, included here. A wholly singular piece of music, it blends string-drenched melancholia with orchestral pomp, sunny psychedelic strumming with propulsive percussion, topped off with Mauro’s yearning vocals. The result is indicative of Mauro’s unique blend of sounds from Latin Jazz and samba to psychedelic folk and baroque orchestration.Today, Obnoxious retains its strange, otherworldly appeal – A firm favourite amongst a small circle of deep diggers including Madlib, Gilles Peterson, Floating Points and DJ Nuts. Jose Mauro’s mournful and melancholic vocals create a dark, brooding atmosphere that stands in contrast to the usual joyfulness and high-spirited rhythm of the more prominent Brazilian music of the era. Despite this air of foreboding, Mauro’s confident baritones, chord patterns and sumptuous arrangements have the ability to induce in the listener in an almost trance-like state of ecstasy. Mauro’s long hidden masterpiece, a complex and uniquely stunning work is being offered the chance to be heard by the wider audience it has always deserved. A second Jose Mauro release, A Viagem Des Horas, compiling more incredible tracks unreleased in Mauro’s lifetime, will follow, alongside other unreleased jewels from the Quartin catalogue, from the likes of Piri and Victor Assis Brasil…All songs written by Jose Mauro and Ana Maria Bahiana

Limited to 500 copies worldwide

Limited Coloured Vinyl 2xLPPieced together from sounds and samples from all over the globe, the album’s aim is to charge listeners with harmony and a feeling of connectedness to the world. Reflecting on his own attitude towards life and the importance of inner balance, Pavel attempts to share some of the spiritual experiences he made while traveling.

Voilaaa is one of the many projects led and produced by Bruno “Patchworks” Hovart, who’s proven over the past 15 years, his place amongst the finest producers of groove music in all genres.This time exploring the wide spectrum of the African and Tropical Disco scene, he received a massive international support for Voilaaa’s first album, On te l’avait dit, released last year on Favorite Recordings.With a second effort already planned for spring 2017, Voilaaa has not finished to feed international dancefloors with heavy Afro-Disco vibes.If any would doubt that, here comes a hot remixes single package, which should end any debate about it, with Dimitri From Paris and Africaine 808 at the control!!

Lena Platonos) is a Greek musician, pianist and music composer. One of the pioneers of Greek electronic music, she remains active today. Lena was born in Heraklion, Crete, and grew up in Athens. She began learning how to play the piano at the age of two and became a professional pianist before turning eighteen. Soon afterwards, she received a scholarship to study in the the Berlin and Vienna Academies , where she was exposed to jazz, rock and Middle Eastern music. She returned to Greece in the late 70’s and began working with the Hellenic Broadcasting Corporation. Released in 1984, ‘Μάσκες Ηλίου’ (‘Sun Masks’) was Lena Platonos’ first record to feature her own words and vocals. All instruments were performed by Lena herself.. ‘Sun Masks’ was inspired by Argentine writer, Julio Cortázar as well as the film ‘The Wall’ by Pink Floyd. "I began to reverse my thought process, to let melodies fade out, to turn to minimalism, to experiment on my Yamaha C60 synthesizer and a variety of “boxes” which I used to change the sound of my voice as well as the sound of the synthesizer” says Lena. The album featured experiments with different sounds and a new batch of electronic equipment, such as the legendary Roland TR 808 drum machine. Lena narrates each song in deadpan fashion, skillfully reciting her surreal Greek poetry. Her lyrics deal with the futility of love, the gap of human relationships, consumerist alienation in the bourgeois lifestyle of the 1980s.

No banging techno spiced up with darbouka samples here… no standard dance music with orientalist clichés: Acid Arab's music is sincere and deep. It's not a collage, not an appropriation, not even a "fusion". It originates from encounters on equal terms between different worlds. Between instruments, rhythms, melodic modes, musical technologies… and people. Check!Parisian electronic music crew ACID ARAB have been putting European festival and club audiences under a spell for the last couple of years, with their intoxicating blend of sharp Western electronic music with Eastern sounds & vocals.Formed in 2012 by Parisian DJs Guido Minisky and Hervé Carvalho, Acid Arab patiently honed their style by meeting with scores of artists from all over North Africa and the Middle East. Born in the transcultural cauldron that is Paris, their concept was to create a space for Arab culture in the world of contemporary electronic music. They laid down groundwork by releasing several EPs (the Collections series) on electronic music label Versatile, featuring collabs, remixes and tracks by other artists.Moving on to create their own tracks, they became a fully-fledged musical entity by teaming up with Pierrot Casanova, Nicolas Borne and, for studio and live activities, with sensational Algerian keyboard player Kenzi Bourras. They are now about to release their first album (on Crammed Discs, an appropriate match, given the label's track record in terms of fostering musical cross-breeding).For 'Musique de France', Acid Arab have worked with a number of guests. To paint a complete picture, they needed voices, and some instruments: keyboards played by Kenzi Bourras (who has been performing live with the band since day one), and also by stellar Syrian musician Rizan Said. There's vocals and saz playing by Istanbul's Cem Yildiz (who wrote the famous song Kime ne for his band Insanlar), and vocals by Yemenite sister trio A-WA (who gained plenty of international kudos with the very first song they released, Habibi Galbi, which got remixed by Acid Arab). And collaborations with Paris-based luminaries of Franco-Arabic music such as rocker Rachid Taha, raï fusion pioneer Sofiane Saidi, as well as gnawa musician/singer Jawad El Garrouge.

Music from Memory’s final release of 2016 is an EP of works by a German trio formed in the city of Wuppertal, in the late eighties. A one off and unique project, Becker, Stegmann and Zeumer were asked to produce an album of recorded material after a string of successful concerts celebrating the work of local poet Else Lasker-Schüler (1869–1945).Very much an integral part of the Wuppertal jazz scene in the 1980’s, trumpetist Heinz Becker and Pianist Karl-Heinz Stegmann met the actress Isabel Zeumer when performing at the opening of an event organized by Wuppertal’s cultural department. Following this the three of them were asked put together a programme on Else Lasker-Schüler. A unique figure in her time Jewish poet Lasker-Schüler embraced a bohemian lifestyle and became a leading exponent of Germany’s expressionism and avant-garde poetry movement before fleeing the country in 1937. Becker, Stegmann and Zeumer’s programme would combine readings of Lasker-Schüler’s works with experimental music and imagery. These performances were met with great enthusiasm at the time in Wuppertal and were even televised. Following on from the strong response to the music and performances, the trio were invited to release the material on local label ITM Records.Embracing Lasker’s avant-garde sentiments within their own musical compositions, Becker, Zeumer and Stegmann’s album ‘Ich Träume So Leise Von Dir’ LP blends jazz and electronics to create a wholly unique sound. Embracing and experimenting with elements of Ambient and even New Wave; the four tracks selected here, in particular, seem to take music and spoken word into an entirely unique musical realm.

On the leading edge of NYC’s underground music scene, Vito Ricci produced only a handful of self-­‐released cassettes and one LP between 1983-­‐1985 with most of his work being recorded for experimental theatre and performance art pieces.Taking their label name from Vito Ricci’s only LP, Music From Memory brings together a compilation of works by one of the unsung heroes of New York’s downtown music scene.Starting out as a percussionist, Ricci’s early musical journey led him to improvised and experimental jazz; working alongside such luminary musicians as Rashied Ali, Byard Lancaster, Peter Zummo and Yousef Yancey.Quickly becoming involved in the avant-­‐garde scene with spoken word performances, film scores for independent movies and even playing in punk bands with performances at venues such as CBGB’s and Mudd Club, Vito’s own compositions drew on all of these influences whilst channeling them through his experiments with synthesizers and drum computers.Drawing comparisons with New York’s downtown No-­‐wave scene Vito’s compositions blend his unique use of intricate percussion with a wide sphere of musical influences to create a world of hypnotising ambient, meditative minimal-­‐synth through to dubbed out electronic funk and even left-­‐field boogie. With most of Vito Ricci’s music remaining previously unreleased, Music From Memory’s compilation ‘I Was Crossing A Bridge’ unveils Vito Ricci’s unique and visionary take on electronic music

The Funk-scene in Germany is growing pretty steady because of labels like Born To Shine! Bybo lives in the city of Karlsruhe, but has a distinctive sound that could come straight out of the Westcoast.This is fine modern funk, great compositions that will take you on a trip• Debut album of the highly anticipated Modern funk producer Bybo from Germany• Limited to 500 pcs