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10"
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LBR 134EP
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$29.50
PREORDER
RELEASE DATE: 1/31/2025
Halo, the latest studio album by Juana Molina, the experimental Argentine singer who captivates and seduces the world with her unique and unclassifiable songs, produced a unanimous acclaim from the public as well as specialized media. Exhalo closes this key stage in her career, where Juana shows the deep and powerful material that was left out of her last LP. Juana Molina has variously been described as pure genius (Les Inrockuptibles, FR), beguiling (Pitchfork, US), and is said to be one of the most extraordinary singers around (Sunday Times, UK), who is creating a slippery soundtrack for the subconscious and subtle, unclassifiable sonic magic. In 2017 she released her latest studio album, Halo, defined as her finest yet (Pitchfork, US), endlessly bewitching (Mojo, UK), which blazes visionary new trails (Libération, FR), mesmerizing, from the first to the last second (WDR Kosmo, DE) and more fascinating and multifaceted, always becoming more headstrong and unmistakable (Les Inrocks, FR). Juana Molina is an Argentine actress, composer, songwriter, producer and performer, widely known in Argentina in the late '80s and mainly in the '90s with her television show Juana y sus hermanas ("Juana and her sisters"). Shortly after she left the television career to devote herself exclusively to music. Her unique style of playing and recording has taken her to the most important music festivals in the world in the last 30 years, such as Coachella, Glastonbury, Roskilde and Primavera Sound. She is frequently cited and praised by artists such as David Byrne, Chemical Brothers, St. Vincent, Feist, Devendra Banhart, and Phil Selway (Radiohead).
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LBR 006-2LP
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$35.50
PREORDER
RELEASE DATE: 1/10/2025
This is a special edition of the 40th Anniversary of Cuerpo y Alma by Eduardo Mateo, in 180 -gram vinyl with obi, new cover artwork and insert. Cuerpo y Alma was his second record as a soloist, originally released by Sondor in 1984. Recorded between 1981 and 1984 with Hugo Fattoruso, Osvaldo Fattoruso, Pippo Spera, Urbano Moraes, Travesia, and more. In this record Mateo also experienced with percussion trying to get closer to a Hindú Percussion. Eduardo Mateo is one of the most important influences in the history of the Uruguayan Music. Mixing beat, jazz, Bossa Nova, and candombe. He was the one who created the "Candombe-Beat" mostly known as "Fusión." He also was a member and inspired the legendary band El Kinto. Mateo was a versatile and constantly evolving musician. If there is a record, however, that can be seen as the condensation of all his work, it is Cuerpo y Alma. Here are examples of his disconcerting simplicity, his most radical experimentalism, his mystical vein, of his explorations with Eastern, African and Caribbean music, their different approaches to the candombe, his tenderness and his frilly climates, his childish surreal humor, of abstractions and permutations of what would be his phase "Time Machine." Mateo took care again of all the instruments in most of the grooves and built in them these minimum-constructivist arrangements in the manner of El Kinto. But there are also collective grooves with a more spontaneous and improvisational approach, interacting with some old friends (Urbano, Pippo, the Fattoruso, Eduardo Marquez) and new colleagues with whom he interacted in the following years (Travesía, Walter "Nego" Haedo).
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LBR 112LP
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La Suite de Raymundo is the latest album from Mandrake y los Druidas, Uruguayan experimental power rock band. An immersive, no-shortcuts-allowed experience. Following the powerful essence of their previous releases, the band now explores playful and experimental territories with classical reminiscences. Recorded live in the studio with the four members playing together at barely a few steps in between, this record captures the band's energy at top performance. The result is a consolidated, energetic and powerful LP, which includes a 16'30" musical suite as the centerpiece that gives name to the album. La Suite de Raymundo is a conceptual work that challenges listeners to travel through the experience and immerse themselves into the essential. Born in Montevideo in 1962, Alberto "Mandrake" Wolf is an iconic composer and fundamental piece of Uruguayan popular music since the early 1980s. After three decades leading his former band Los Terapeutas, in 2017 he shocked the local musical scene with Mandrake y los Druidas, a supergroup formed next to younger musicians with a powerful and high-energy classic rock n' roll sound. Their debut album, Mandrake y los Druidas (2017), was pleasantly received by specialized critics and the fans, winning Graffiti Awards for Uruguayan Music in main categories: "Band of the Year", "Album of the Year", and "Best Rock and Blues Album". In 2020, they released Sortilegio, their second album, which definitely delved deeper into the band's sound and expanded its spirit. Three years later, they release La Suite de Raymundo, their third and definitive album. Gatefold.
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LBR 111LP
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Canciones de amor contains a selection of songs from the recital recorded live at the Teatro Solis in Montevideo in November 1992. The Uruguayan singer Eduardo Darnauchans was, by then, already recognized as an artist of singular sensitivity and had established himself as a lyricist and composer. What is of interest here is the exceptional expressive capacity of the performer, accompanied by a band which brings technique but also an understanding of style. In Darnauchans's privileged voice there is a palpitation of interpretative finesse and technical rarities, some of which are unique in Uruguayan popular music: the work on vowels and consonants, the use of vibrato, the musical handling of breathing. Certain versions are true gems, with real intimacy, that mystery of the interpreter that connects directly with the listener: "Épica", "Cuando escucho una canción de los Beatles" (an example of an arrangement that differentiates it from studio versions), and "Luna del ciempiés", with dark but magnificent poetics, music that brings together multiple influences, and a vocal interpretation that ranges from the finest emission, with the resources mentioned above -- and others -- to the synthesis of anguish and calm of the final recitative.
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LBR 084LP
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Art pop and experimental sounds in a sensitive, intimate experience. Helen Olhausen weaves mesmerizing vocals, hypnotic melodies, and minimalist beats. Romperse captures mystical, transformative songs, casting a new Uruguayan music atmosphere. Helen Olhausen, untethered by a single genre, combines her deep and ethereal voice with synthesizers, piano, strings, electronic elements, and human drums that sound like machines. In 2020, she released her debut album Romperse, a collection of 35 minutes divided into nine original creations. Her music explores diverse climates ranging from pop to electronic. Romperse tells the intimate, nostalgic, sensitive, and electric story that traverses the predictable rhythm that reaches the body in parallel with the unexpected and complex, as well as the nature of this element. Helen is a Uruguayan composer, singer, and producer from Salto (a city in northern Uruguay) who currently resides in Montevideo, Uruguay. Her music mesmerizes in its bold pursuit of experimentation and intimacy.
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LBR 096LP
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A place where indie rock intersected with the great Latin bands of the 1950s, fringe genres like cumbia villera were transformed into sophisticated music, tango joined alternative pop, and track music became contemplative and landscaped. Juan Campodónico has a long artistic career (Peyote Asesino, Bajofondo) and extensive experience as an artistic producer on some fundamental records of Uruguayan and South American music (Jorge Drexler, Cuarteto de Nos, and No te Va Gustar, among others). In Campo is a very heterogeneous group of composers, performers and instrumentalists from different genres and geographical locations (Jorge Drexler, Martín Rivero, Ellen Arkbro, Pablo Bonilla, and Verónica Loza, among others). Campo was based on the song format, jumping the limits of the Río de la Plata, immersing himself in rhythms, genres, and forms of South American songs from the past and present, seeking the link with pop, rock and electronic music. The album -- which received nominations for the American Grammys, the European MTV Awards and the Latin Grammys -- broke schemes and prejudices. He brought together opposite worlds such as cumbia and britpop, songwriters and dance music, or bolero and electropop, finding beauty and sophistication in unexpected places.
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LBR 090LP
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Almost 30 years after her last album release, Sylvia Meyer released ¿Quién?, an album where everything happens between her piano and her voice. Its exquisiteness, sensitivity, luminosity and refinement coexist with arranging complexity and virtuosic, achieving a unique texture and a voice that penetrates souls to nest there, and grow beauty. The musical atmospheres and the universes of beauty to which the songs that make up this album transport the listener rescue that sound so complete and, at the same time, so inevitably montevidean, which travels absolutely free. Meyer is one of the most important Uruguayan artists of the last four decades. Composer and owner of a unique and special voice. Everything that sighs fills it with beauty and mystery. Her music manages to transcend the borders of cinema, theater, concerts and art.
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LBR 102LP
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Los Terapeutas is a band of songs, where new wave, candombe beat, funk and rock were mixed in a unique way, with a strange frontman who had traces of Eduardo Mateo, Damo Suzuki, Frank Zappa, and David Byrne. Candombe del no sé quien soy is related to what the group did live at that time: looking for a state of hypnotic hanging with their songs. The playing of the candombe drums was obviously an inspiration to look for that trance state, as was the music of Mateo and that of Opa, but influences can also be traced from the rhythmic experiments of German band Can of the '70s. The album was released in the late 1990s, a complicated time for Uruguayan music. It was released on vinyl, a format that was losing weight compared to the CD. They would not release an album together again until 1997. In the 2000s, Los Terapeutas slowly expanded their audience, while also leaning towards a more electric sound. The new generation of Uruguayan musicians recognized the pioneering work of the band and Alberto Wolf was seen as a kind of godfather by several of the rock groups that were beginning to become massive.
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LBR 093LP
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In Hogar, Santiago Moraes reaffirms the identity that he had previously explored in his previous works, but now it is revitalized by the participation of the musicians from Transeúntes, as well as several guests from both banks of the river, such as the Nautilus band and Uruguayan guest musicians that give the final touch to a more than interesting production. Hogar is made up of nine songs in which Moraes returns to his lyrical debt to Javier Martínez, and manages to mix it with popular sounds that look towards Uruguay, the land of his parents. Moraes has an uncanny ability and acute gaze for building warm and endearing stories and characters in the old school tradition of Robert Artl and his "aguafuertes". His songs, both powerful and melancholic, are felt portraits of people who have crossed his path at various times in his life. This is his third album as a solo artist, and it includes a variety of genres: ballads and candombe, blues and milonga, like a mix between Bob Dylan and Tom Waits with Eduardo Mateo and Alfredo Zitarrosa.
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LBR 100LP
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Recuerdos de Uruguay is an avant-folk record sitting somewhere between "popular" and "experimental". Fabrizio Rossi's songs feel as if tapes were unearthed from the countryside's moist soil. Uruguayan roots music pierced by dreamlike atmospheres, as sound memories tarnished by emotion and time. Recuerdos de Uruguay, by Fabrizio Rossi, is defined as "a set of disordered memories" and whose forceful name may lead one to think that listening to it will be a padded transit through recognizable landscapes. However, this saga of songs and poems is an excursion into the mist, a journey through familiar territories that are not seen at first glance. The musician born in 1986 has been on the scene that we usually simplify with the indie label for more than 15 years, participating in different projects as an artist and producer. In 2016, he published Música para viajes interdepartamentales. Volumen 1, the first of a series of albums "inspired by the idea of traveling through the interior of Uruguay looking out the window" and recorded from an old magnetic tape recorder, with the silence of the early morning as an ally and in shots live, in search of the spontaneous, as in the old folkloric records of a Uruguay that is already a memory.
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LBR 098LP
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On El Camino por Adentro, Mateo Ottonello tries to unite the different universes that they currently inhabit. An aesthetic that took up the synthwave of the '80s and the legacy of groups like Opa (Hugo y Osvaldo Fattoruso, Ruben Rada). The leather and organicity of candombe, the wood and improvisation of jazz, the synthesizers and the repetition of electronic music. From inspiration and challenge, he generates mantric landscapes and a strong dose of Uruguayan instrumental music. A jazz musician who is not only that, but who works in constant dialogue with various genres. A drummer who with his instrument pursues a Montevidean identity, built on candombe and jazz; and with the synthesis of electronic sounds, he builds hypnotic instrumental passages that invite the ear to venture into them. Mateo Ottonello is a talent that is no longer an open secret and his prestige among local musicians is growing and is unquestionable. The drummer, producer, and teacher has a long musical career that dates back to 2018 and is also characterized by constant collaboration and exchange with different musicians. El Camino por Adentro starts with "Regreso" that plunges you into arpeggios of guitars, percussion, and trumpets in a mysterious and candombero cadence. Seven minutes that, towards the end, "melts" between digital sounds and open the door to void. Synthetic, happy, and poppy, the song feels almost like a car ride, caressed by the wind and the sun's rays of its synths. In contrast, in "El Camino por Adentro" (featuring Hugo Fattoruso), intensity appears in all its splendor. As if wanting to leave everything, the band made up of Ignacio Correa on bass, Maximiliano Nathan on vibraphone and synthesizers, Juan Olivera on trumpet, Santiago "Coby" Acosta on percussion, and Marcos Caula on guitars, join Fattoruso to attack hard with their maximum volume and expressiveness. Together they build nine minutes of multiple parts, layers, and colors that are continued by the tension in Brujo and the relaxation in "La Salvadora". For its part, "Festejo" (featuring Hugo Fattoruso) presents music that stimulates the ears on a journey interspersed with very free keyboard arrangements. "Fue un Viento" (featuring Luciano Supervielle) closes the album with a mysterious and romantic ballad that at times recorded Angelo Badalamenti (composer of the Twin Peaks soundtrack), but here, they are staged in a Montevidean jazz song.
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LBR 083LP
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Cada Segundo Dura Una Eternidad is Emiliano Brancciari (leader of No Te Va Gustar) at his most personal and intimate version. 12 rock songs in the most classic sense, illuminated by the modernity of subtle and forceful arrangements. Emiliano puts on the singer-songwriter costume and gets up to the level of his most notable referents: soloist Keith Richards, Tom Petty, Gustavo Cerati, or Phosphorescent, to name a few. The album has a brilliant display of codes and references to the best of Anglo-Saxon rock, both British and North American, reinforced by the participation of experienced local musicians who recorded in the sessions in Long Island City, under the detailed and perfectionist production of Héctor Castillo. In January of 2022 Emiliano Brancciari recorded his first solo album "Cada Segundo Dura Una Eternidad", under the name EMI. The result is a perfect collection of songs that have, at the same time, his personal stamp and a sound axis totally different from what he has us accustomed to as the leader of No Te Va Gustar for more than 28 years. Cada Segundo Dura Una Eternidad is Emiliano Brancciari at his most personal and intimate version, and EMI is the alter ego with which he allows himself something more than just an escape.
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LBR 063LP
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Reissue. Los Problems' rockier album, originally released in 2014, revitalized the music scene of the Rio de la Plata (Uruguay and Argentina). A release that moves from urban intimacy to barricade epic, from ballad to punk, with a rare flow that combines different moods and paces to form an indivisible whole. The Uruguayan singer-songwriter tradition, like Fernando Cabrera and Eduardo Darnauchans, is a standing reference in this work. If the first album by Los Problems, Malditos Banquetes (2007), already introduced Eté as a unique character with a fierce energy and sound, and Vil (2011) is proof of his skills as a hitmaker that should be mainstream in a more sane world, El Éxodo appears as best of both worlds. It's an album that was (and is) in a way, an intimate catharsis during a period of changes, expressed throughout songs with lyrical finesse that evoke Tabárez's obsessions (from basketball to Steinbeck's work or the religious overtones of The Whobut with Uruguayan poetic identity of Darnauchans, Zitarrosa, Fernando Cabrera -- all recurrent references in his work and interviews). Finesse aside, the album is also considered a shamelessly charged-in rock piece, that started to be considered, both locally as internationally, like a zombie genre, incapable of expressing anything relevant in these present times. An album that emerged from a personal crisis, climbing in the opposite direction of the intimate and light path of the indie genre, to shout and rasp, even in the single that broke through, "Jordan", paradoxically made famous on that same indie audience, with a mix of post-teenage desolation, pop melodies, and some Montevidean imagery, this track helped Eté Y Los Problems and El Éxodo album to establish themselves as one of the last standing groups of Rioplatense rock scene. Electric blue vinyl.
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10"
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LBR 081LP
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Paul Higgs is a young and very talent artist of the new generation of Uruguayan music of the 2021 century. Through Tridimensional, he builds a sophisticated work where it shows different sounds such as folk, funk, pop, and other contemporary sounds are mixed. This silver sounding piece of South American modern music is the result of experiences had by the Uruguayan musician Paul Higgs throughout his adventures in Buenos Aires, São Paulo, and naturally his native Montevideo. In Tridimensional you'll find a myriad of reflections, sonic images and references to whatever this anomalous histrionic and enthusiastic spirit has to share. It is produced by the wise, well-seasoned and also Uruguay born musician Martín Buscaglia, thus adding a graceful and firm step to the intergenerational staircase of art in Río de La Plata's ever-growing culture.
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LP
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LBR 029LP
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Reissue, originally released in 1987. Recorded between 1985 and 1987, this album brings together the two founders and leading performers of candombe-beat, Ruben Rada and Eduardo Mateo. They hadn't collaborated in a project since 1969. Both artists had reached their creative prime, with Mateo having released Cuerpo Y Alma (1984) and Rada, La Yapla Mata (1985), which included the classic song "Tengo un candombe para Gardel". The initiative of making this album sprang from the artists themselves. But when it was time to create, they rarely got together in the studio, preferring to work on their own. Once finished, the album failed to make an impact, since neither of them promoted it. This revival brings the semi-hidden treasure to light. It includes two tracks of the artists strictly performing a duet, the only recordings of Mateo and Rada working alongside each other and no one else. It also contains two additional tracks where you can relish Rada accompanied by Mateo's guitar and Mateo backed by Rada's percussion. It includes a track where Mateo commands the instruments (as in "Mateo Solo Bien Se Lame") and another with Rada's solo on vocals and percussion. There are instances when Rada's band of that moment and "super-group" (with Osvaldo Nolé on keyboards, Ricardo Lew on electric guitar, Urbano on the bass, and Osvaldo Fattoruso on drums), makes an appearance. Sometimes, Urbano comes forth as lead singer, completing the triad of singers of El Kinto. All excellent songs. Botija de mi País is an exceptional and one-of-a-kind album, an overflow of talent, musicality, swing, imagination, rhythm, spark, and transcendence.
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LBR 032LP
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Julen Y La Gente Sola's self-titled debut album has the great virtue of not hindering or clouding the songs that for years had been becoming hits in the Uruguayan underground. It doesn't have the rawness of a live record, but it does have its immediacy and freshness. Stripped of baroque or superfluous arrangements, the ten songs that make it up sound exactly like what their audience expected, but more clearly compared to the precarious sound where Julen used to play. The album also has another enormous virtue, and it's the unconsciousness of youth, the search for an identity, without shame, modesty, or calculation. Lyrically, it's an album that hints it was written by people barely in their twenties. At times cheesy, at times rough, but always seemingly honest. Led by Federico Morosini, a prolific songwriter full of primal enthusiasm composing songs back-to-back with his cheap Creole guitar in his mother's house; supported at first by Juan Pablo Campagna on electric guitar and Marcelo Duarte on drums, eventually with Agustina Santomauro as bassist. They stood out for songs that forged subtle links that had never been crystallized in such a solid way between the Montevideo song, the Donosti sound, the twee pop bands released by Sarah Records, the noisy nineties indie bands of Matador Records, and the independent scene on both sides of the Río de la Plata, the Uruguayan collective Esquizodelia, and the Argentine label Laptra. Julen had an ace up their sleeve and it was the arrangement of their songs. While it may be easy to identify their influences, the trait of creating anthem-like songs was relatively novel. Their first compositions hold a sense of spiritual discernment, a sensibility that could only be described without belittling them, as "popular." This debut album, perfect in its imperfection, is a document, a time capsule of a period that in the face of constant technological, social, and economic changes, seems to be further and further away even though not even a decade has passed since its release. Resembling the memory of teenage years, perceived close yet unattainable from the rearview mirror that gives back a slightly idealized reflection. Red vinyl.
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LBR 085LP
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Originally released in 1989, La Mosca was the last album of the mythical Eduardo Mateo (1940-1990), one of the most influential artists in Uruguayan music. Reissued for the first time. Produced for the multi-instrumentalist and sound engineer Hugo Jasa. Released towards the end of 1989, La Mosca was the last job by the mythical Eduardo Mateo (1940-1990), one of the most influential artists in Uruguayan music. Although Mateo was a remarkable percussionist and was very well known for his short songs, with simple lyrics, where Uruguayan roots are mixed with Brazilian, African, Indian, and Arabic influences, on his last album, his work took a turn on a brand-new direction. Alongside the multi-instrumentalist and sound engineer Hugo Jasa, weaved together a futuristic sound, based on drum machine beats, keyboards, electronically processed both guitars and vocals to create an atmosphere through sturdy texts with references to machines, to the future, to time and the cosmos. At first received with confusion, today La Mosca continues to cause a mysterious fascination that persists and deepens through the passing of time. Includes obi and liner notes of specialist Guilherme de Alencar Pinto.
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Juan Ibarra's jazz quintet blends hypnotic grooves, sonic landscapes, and experimentalism with a cinematic touch. Jazz fusion and avant-garde united with an unmistakable South American feel. Arco is inspired by an imaginary talk between Uruguayan musician Eduardo Mateo and Thom Yorke (Radiohead) in a bar from deep Uruguay, while drinking cane and playing chess. The talk has its focus on the search for what is our "bow" to be able to launch our "arrow". At the same time, they discuss calmly, while they think with their movements, the different transformations they go through in life, what are the natural and which ones are necessary. The album seeks a sound between the electric guitar of Martín Ibarra and the acoustic guitar of Jeremías Di Pólito, imitating the voice with the trumpet of Juan Olivera supported by the improvised bases of Andrés Pigatto on double bass and Juan Ibarra on drums, thus opening a limbo to discover between the world Uruguayan folk and jazz.
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LBR 080LP
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Sankofa is the debut album by Avr (Alvaro Silva), a work that takes form through the research and fusion of Candombe and other Afro rhythms from Río de la Plata region with hip-hop and Black American Music. Avr, the great-grandson of Juan Julio Arrascaeta (one of the first Afro-descendant poets to be published in Latin America) writes throughout the album, using several "Africanisms" and lost words that date back from colonial and slavery times, giving the lyrics a connection with his great-grandfather's work, introducing himself as a skillful MC who travels through past, present, and future while using several Candombe rhythms in his flow. Highlighting several personalities from the Afro-Uruguayan culture and from across the American continent, it also presents itself as a valuable work for those interested in researching cultural figures of Black America, especially, Uruguayan. Under the production of Felipe Fuentes, an album knitted with tons of messages, some direct, some to be discovered, came to life. Sankofa means "to look back, to go forward" which is exactly from the beginning what this musical journey is, from a very heavy and dense, ancestral, drum presence, to complex harmonic compositions and arrangements, a work that counts with important contributions of some of the main Afro-Uruguayan artists. A musical "guiso" (South American stew), Sankofa is the vision of the world of a young black male, his way of feeling and interpreting the past, present, and future; and how to transform it in order to generate something new. Includes contributions by Hugo Fattoruso and Ruben Rada.
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2LP
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LBR 074LP
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Los Sueños de los Otros is an elegant and ambitious work, driven with conviction to fruition. An album that explores dreamlike worlds and reworks them through refined arrangements, a wide variety of instruments and vocal searches. The perfect balance between ecstasy and melancholy. It could be a record from the 1970s or from the year 2050, which incorporates elements from the world of classical and pop music. Los Sueños de los Otros is the first solo album by Mariano Gallardo Pahlen. The songwriter, producer, singer, and multi-instrumentalist, composed and recorded practically everything that is heard throughout the ten songs. Raised in a vast artistic universe, with a lot of movies and music constantly playing, he created a debut album that reflects a variety of influences that combine and blend to conceive a true fingerprint. It is an elegant and ambitious work, driven with conviction to fruition. Thus, in the breadth and ambition of his debut, there is room for images, films, questions, conclusions, references, sounds, and landscapes arranged in such a way that they feel timeless, as never seen but known since ever. It could be a record from the 1970s or from the year 2050, which incorporates elements from the world of classical and pop music. An album that explores dreamlike worlds and reworks them through refined arrangements, a wide variety of instruments and vocal searches. The perfect balance between ecstasy and melancholy. A huge album that Mariano Gallardo Pahlen built alone, to find out who he was, who was there, in the middle of all those layers. To find out and be reborn. This debut should be celebrated for fulfilling the premise, not simple at all, of every first album: to establish a new voice that seeks to be heard in a memorable way.
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LBR 064LP
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Little Butterfly Records present the first time reissue of Jorge Galemire's second album Segundos Afuera, recorded and released in 1983. Considered a landmark of '80s Uruguayan music. Candombe, rock, and jazz shake hands with singer-songwriter vibes, creating a sophisticated pop with South American roots and equal doses of groove and psychedelia. Segundos Afuera was recorded at La Batuta, the first recording studio in Uruguay to have 16 channels. The sound engineer (and partly music co-producer) was again Dario Ribeiro. Ribeiro was instrumental in the album's sonic experimentations, encouraging Galemire's ideas. The textures achieved with backward tapes in "Sin Saber Porqué" and "Un Son", the overlapping female voices (performed by the trio Travesía) in that song, the three drums added in "Kublai Kan" and its male choral canon are a sample of these searches, unusual until that moment in Uruguayan music. Segundos Afuera had a generous studio budget for the time. It was recorded in about 300 hours, when it was usual for the Orfeo label to assign a maximum of 100 hours for these projects. Despite that fact, it's surprising how Galemire and Ribeiro achieved a work so stylized taking the best of Uruguayan studios technical limitations. The rhythm section of Segundos Afuera was the same as the previous record: Andrés Recagno on bass (who also played synthesizers, backing vocals and some arrangements) and Gustavo Etchenique on drums, plus Carlos "Boca" Ferreira on percussion. More than thirty musicians are featured in the album. Among them are some of Galemire's artistic heroes such as Osvaldo Fattoruso, Eduardo Mateo, and Dino. Segundos Afuera went almost unnoticed by the general audience. However, it became an instant classic in the Uruguayan music scene from the very moment of its release. The sophistication of its sound; the unique way of combining pop, rock, jazz, candombe, milonga, and murga; the search for moods and textures; the lyrics that mixed common themes and existential reflection dazzled and influenced different generations of artists. Galemire released only three studio albums after Segundos Afuera. None of them were as ambitious as this one. Its cult status was reinforced when it became inaccessible. After a first release of a few hundred vinyl and cassette copies, the album was never reissued in any format. The few copies available became a prized collector's item in Uruguay and abroad.
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LP
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LBR 043LP
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Little Butterfly Records present a reissue of the second album by Totem, Descarga, originally released in 1972 and one of the most important bands in Uruguay's musical history. The Spanish word "descarga" in a literal sense can refer to several things: lighten charge (material or emotional), make a violent blow, fire a firearm, receive an electric shock, among others. But from 1972 Totem gives to "descarga" a soundful meaning, where it is possible to hear the protest of a country on the brink of collapse, the guitar riffs reminiscing to bands like El Kinto and the psychedelia with the smell of the sea invoked by the "lonjas". This album was the meeting of six pairs of hands tanned by jamming for long hours at night, which together temper and give personality to a style for export. For almost half a century these songs have rested placidly in the grooves of Descarga. Little Butterfly Records awakens them in a deluxe reissue, to put back in rotation an essential record of Uruguayan history and "descargar" once again the ancient sounds of the true Candombe beat. 140 gram vinyl; gatefold sleeve with insert.
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7"
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LBR 014EP
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Hay Una Chica En Mi Camino signified the return of Hablan Por La Espalda (Montevideo) to the studios since the recording of Sangre (2015), in collaboration with Juan Wauters and also the return to an incredible format-object, typical of the golden era of the singles and essential for collectors.
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LBR 015EP
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Had they been born in the English-speaking part of the world, their name would possibly stand among those of the well-known bands of the sixties. But Los Mockers happened to come from a small place named Uruguay, and throughout the band's short life they never got further than neighboring Argentina. In 1966 they recorded their first album, and a couple of singles (probably too underground there and then) and disbanded soon after. Following a recent band reunion to head a top music festival in Spain, Los Mockers recorded a few new songs now released for the first time.
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LP
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LBR 016LP
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Little Butterfly Records presents a first physical issue of Los Nuevos Creyentes's El Sonido Bendito De Los Nuevos Creyentes (2017). "After the auspicious homonymous EP (2015), with just five songs, Los Nuevos Creyentes released online El Sonido Bendito De Los Nuevos Creyentes (2017), their first LP that reflects the band's musical universe. Sometimes, the wavy guitars of Matías Singer and Zelmar Borrás remind one of Television, while Santiago Bogacz's Farfisa (also known for his project Matador) gives a lysergic accent to the rhythm section of drummer Diego Prestes and bassist Rodrigo Gils. The styles that come together in this LP show a band with a certain curiosity to experiment and reflect the influences of bands like The Seeds. Their instrumental songs, like 'Palabra De Un Misionero' or 'Licencia Para Resucitar, bring a sound that rides to the temple, riding to the trance. Aside from the place they give to instrumentals, they have lyrics which have as much of introspection and years of therapy ('la pregunta es la respuesta en sí/the question is the answer itself' in 'Espectro') as redemption, broken hearts and sordid thoughts released on parole. There is also a remarkable fascination with esotericism and the mysteries of invisible worlds: from the band's name (Los Nuevos Creyentes/The New Believers) and the album's title (El Sonido Bendito De Los Nuevos Creyentes/The Holy Sound Of Los Nuevos Creyentes) to their attention towards life in outer space. These space cowboys bring a perfect album for a spaghetti western soundtrack, where the awaken outsider arrives to a bar in the middle of the desert, thirsty, asks for hard liquor while he watches the sheriff's wife and lays his gaze at a fixed point, just to hallucinate with new mirages." --Nelson Barceló
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