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viewing 1 To 6 of 6 items
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NADA 007LP
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This would have been the Brazilian post-punk supergroup. It would have, because bassist and singer Sandra Coutinho moved to Germany, leaving these recordings behind -- only two songs were released, in an independent compilation (Enquanto Isso, 1991). Sandra (bass, As Mercenárias) along with Denise Camargo (keyboards and voice, Bruhahá Babélico and Dequinha e Zaba), Biba Meira (drums, De Falla), and Karla Xavier (guitar, R. Mutt), expressive musicians in expressive bands, were AKT. And this powerful repertoire, composed and recorded in the short period of the group's existence, recorded and produced by R.H. Jackson (Caracol) the complete session remained unheard until now. For the first time ever on vinyl (or any other format) the complete AKT recording session. Remastered from the original tapes, this reissue also brings unseen photos by Rui Mendes and the band story written by Alex Antunes (Akira S & As Garotas Que Erraram), based on statements by the girls, the engineer, Bruno Verner (R. Mutt) and Thomas Pappon (Fellini).
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LP
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NADA 009LP
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Repressed; reissue, originally released in 1973. One of the rarest and most enigmatic LPs in the Brazilian discography, Prá Quem Sabe das Coisas is a collective album that gathered a group of students from São Paulo Law School, supported by the organist/pianist Renato Mendes, one of samba-jazz's most important names. Released in 1973 by the label EBRAU, finally has a refined reissue and its mysteries revealed, exactly half a century later, considering that it was recorded in 1971 but put in the market as LP only two years later. Reissue includes original insert replica with lyrics and an extra insert with unseen photos and an exclusive interview that the journalist and researcher Marcelo Pinheiro did with Cau Pimentel adding even more to the richness of this workpiece, composed by many writers and performers in 1971. Features Cau, Liliana, Renato Mendes, Marcão, Eulalia, and Vera.
According to Disk Union/Think Records (released CD reissue of this record): "Mysterious acid bossa psychedelic folk masterpiece recorded in 1971 and released in 1973 on a small Brazilian label. Recorded by students of the law school in São Paulo, under the influence of Sgt. Pepper's mixed with bossa nova. It's a chaotic yet delicate and sophisticated. I can't imagine it being composed or recorded by amateur musicians that they were, except by Renato Mendes, who has been active as a first-class musician since the jazz bossa period and was a Brazilian pioneer recording an album using a Moog synthesizer in 1974. It can be said that it greatly contributes to the miraculous perfection of this work. Known among record collectors as a record that attracts not only Brazilian music fans but also psychedelic and acid folk fans, the original version is a gem and sells for over USD1000."
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LP
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NADA 005LP
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2022 repress arriving in Sept. For the first time on vinyl, this compilation brings excerpts from electroacoustic pieces written by Jocy de Oliveira from 1987 to 1993. It is rather fascinating Jocy de Oliveira's journey as a creative and sensitive inhabitant of our planet. She is a masterful composer, interpreter, multimedia artist, and storyteller. Her pieces are influenced by the avant-garde of the 20th century and all cultures and languages on Earth, emphasizing the importance of feminism, science, and the environment. Jocy started composing at the age of six and was introduced to piano studies at a very young age by her mother who was a poet and pianist. In 1959 she recorded A Música Século XX de Jocy (1960), an "Anti-Bossa Nova" record that was not understood by anyone in the '50s, but 62 years latter it became a cult classic (and has just been reissued). Her talent and dedication brought her to work alongside 20th-century music masters such as Igor Stravinsky, Oliver Messaien, Luciano Berio, Claudio Santoro, John Cage, Xenaxis, and Karlheinz Stockhausen. This became a vital experience in her artistic life and she performed world premieres of works by many of these great composers. Jocy witnessed and experienced the rupture of several paradigms of Western music. She incorporated serialism and electroacoustics, dialogued with ritualistic music and indeterminacy that boomed in the revolutionary 1960s. This album is dedicated to a production that goes from the mid-80s to the early '90s. On side A, "Oniric" presents electronic music performed in real-time along with voice. The following pieces are two ragas: "O Contar De Uma Raga" (Telling Of A Raga), and "Raga na Amazônia" (Raga in the Amazon) and last is "Solaris" with Ricardo Rodrigues on reeds and oboe. In all these pieces Jocy plays the keyboards. Jocy plays synthesizers in all tracks and is accompanied by great musicians as Ayrton Pinto, Joseph Celli, Sang Won Park, Ricardo Rodrigues, and Anna Maria Kieffer. The LP comes with an insert with unseen photos and two texts, one by Jocy de Oliveira and other by the musician and researcher Paulo Beto.
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LP
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NADA 004LP
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Reissued for the first time, Fragmentos da Casa by Brazilian percussionist Marco Bosco was originally released in 1986 by Carmo, owned by Egberto Gismonti. Carmo also released albums by Gismonti, Piry Reis, Fernando Falcão, Nando Carneiro and André Geraissati, among others. In 1986, Marco Bosco's percussive arsenal was unique and extremely peculiar, containing chizanzhi, caxixis, purrinhola, requo-requo, shequeres, berimbaus and lingo drum, among other instruments. This fusion of acoustic and synthetic, promoted by some Brazilian artists in the '80s and celebrated worldwide, still brings memories to the percussionist. For him, the arrival of those electronic gadgets "was the best thing that happened on the planet." This reissue includes a reproduction of the original artwork, new testimonies by Marco Bosco and a long article signed by Bento Araujo, author of the series of books Lindo Sonho Delirante, which investigates audacious and fearless music produced in the Brazilian underground. The track "Sol da Manhã" was included in Outro Tempo (Electronic and Contemporary Music from Brazil 1978-1992), compilation by DJ John Gomez released by Dutch label Music From Memory.
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LP
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NADA 002LP
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First time reissue of Caracol. Brazilian underground music in the 1980s produced fascinating and mysterious records, where organic and regional percussion finally gained electronic and synthetic nuances. Songs were processed electronically and acted in harmony with drumming and dissonant guitar interventions. This was a too bold recipe to be understood in Brazil at that time, dominated by pop music and the first signs of lambada fever and country music. The music contained in Caracol was so anti-commercial that things seemed to happen in a parallel universe for the duo João de Bruçó and R.H. Jackson. João de Bruçó started out as a drummer, playing from jazz to forró. Then he studied Brazilian folklore, worked in circuses and wrote tracks for theater, dance performances and TV. Studying percussion and the relationship between dance and music, he discovered new instruments and possibilities. R.H. Jackson also started out as a drummer and percussionist. He studied cinema, video and electronic composition. He also created soundtracks and researched Brazilian folk dances and candomblé. Jack was already an avid user of several technological innovations and was one of the few in Brazil in the 1980s who dominated computer programming, samplers and sequencers. Caracol was recorded between 1988 and 1989. João was responsible for the percussion, accordion and a series of objects, such as a copper vase with water, seeds, animal hooves, snorers, springs, bells, marbles and a metal mug, plus piano and a toy clarinet. Jack took care of electronic programming, samplers, sound treatments, synthesizers, subtractions and guitars. Both were in charge of vocals. "What draws most attention in Caracol is the choice of intuition as a creative and compositional process. Despite the sound and timbristic result being marked by a lot of simplicity, at the same time it oozes multiplicity. The voices, processed electronically, merge with a drumming of surdos, repiniques and the dissonant interventions of a guitar. The vocals are onomatopoeic and modal, like a kind of indigenous tribal ritual. Whoever wants to classify the album will have difficulties. In many moments, the choices and sounds are so primitive, that one could hardly think of it as avant-garde. But those who put pre-concepts aside - and use only their ears and musical sensitivity - will be delighted." Contains two extra and unreleased tracks, recorded during the original recording sessions. Remastered from the original tapes. The track "Terra Batida" was included in Outro Tempo (Electronic and Contemporary Music from Brazil 1978-1992) (Music From Memory, 2017).
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LP
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NADA 003LP
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First time vinyl reissue. 1985 was one of the most important years in Brazil's recent history, when the country was freed from more than 20 years of military dictatorship. The youth took the lead and finally Brazil entered the world show business circuit with Rock In Rio festival. But the real revolution was happening in the underground and this record is a proof of that. One of the people in charge was the musician, composer, poet, writer, scriptwriter and speaker from Rio de Janeiro Ronaldo Tapajós, who was always involved with experimental and avant-garde music. His trajectory begins in the mythical 1968, when, as part of the the duo Rô and Carlinhos, he released an emblematic single containing the song "O Gigante" -- perhaps the first Brazilian bad trip recorded on vinyl and a shrewd criticism of the society's "square" habits. According to Cinema's LP press release: "in the era of visual music, Cinema is sound". In terms of sound, listening to this album feels like diving into an intriguing anguish of trying to understand how the relationship between technology available at that time (1983-1984) and the more organic instruments happened, this duality between synthesizers/effects with percussion, woodwind instruments, piano and clarinet. In other words: how was the coexistence between the synthetic and the acoustic? This paradox seems to seduce collectors, DJs and enthusiasts of Brazilian music from the '80s around the world. This fictional soundtrack has a dark mood, as if a fog of dark and ambient music insisted on staying on top of cheerful patterns of Afro-Brazilian percussion, or conceptual synth pop. The track "Sem Teto" was included in Outro Tempo (Electronic and Contemporary Music from Brazil 1978-1992) (Music From Memory, 2017). Includes two extra and unreleased tracks found after decades. Remastered from the original tapes. Includes eight-page color booklet full of photos, images, and new testimonials from the four members of the project.
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