MASKENBALL

With 'Rio Abajo', Venezuelan singer and percussionist Rebecca Roger Cruz bares her soul, unveiling a debut solo album that lies at the confluence of everything that defines her. Birdsong, poetic incantations, baroque orchestrations, magnetic textures, percussive trance... 'Rio Abajo' is an album deeply rooted in the elements and the spirits of the living world. Born in Caracas, Rebecca Roger Cruz grew up in a country where music-spanning from the Atlantic coast to the plains, from lush rainforests to Andean peaks-reflects the exceptional richness of a human and cultural melting pot at the crossroads of the Caribbean, Latin America, Africa, and Europe. Yet it was the classics of psychedelic rock and symphonic metal that electrified her as a teenager! This passion led her to study classical singing and early music. A precocious talent, she joined the prestigious Camerata Barroca de Caracas as a soprano at the age of just 17. For the 10 tracks of 'Rio Abajo', Rebecca brought together a close-knit ensemble who together summon seeds, strings, and bamboo into a percussive trance - repertoire from beyond-worlds and deeply connected to the elements and spirits of the living earth.

VERSCHWIEGENE LIEDER

The heir to Brazilian tropicalism, Santtana marks 25 years of his career with Brasiliano, a true collective celebration that brings together prestigious collaborators: Gilberto Gil, Oxmo Puccino, Flavia Coelho, Piers Faccini, Chico Cesar, Paralamas do Sucesso, Cocanha, Dimartino, Karyna Gomes, Tainara Takua, Rachel Reis and Maria Lado. Sung in eight different languages, Brasiliano is both an ode to linguistic diversity and a testament to it's symbolic power. Carried by luminous and layered arrangements where voices intertwine like a polyphonic conversation, the album treats language as a musical instrument in it's own right, but also as a political tool. Santtana questions cultural heritage, identity, colonial memory, and the possibility of a shared language. With his singular approach-blending popular rhythms, contemporary soundscapes and vibrant melodies-he celebrates the love and exchange embodied in Romance languages, where music becomes fertile ground for encounters and reinvention.

A year and a half after the release of their Latin Grammy-nominated album, Me Chama de Gato Que Eu Sou Sua, the award-winning Brazilian trailblazer, Ana Frango Eletrico, returns with two new songs: 'A Sua Diversao' and 'Nao Tem Nada Nao'. Both tracks are the result of a remarkable collaboration with legendary Brazilian artist Marcos Valle, creating a dialogue between generations. The 7" single will be released in partnership by the labels RISCO, Mr Bongo and Psychic Hotline. First up, Ana drops the laid-back sultry Brazilian-funk gem 'A Sua Diversao', written alongside Tuca Monteiro and co-produced by Guilherme Lirio. With a breezy '80s tinged feel, the sumptuous bassline, funk strutting guitars and cosmic synths are the perfect match to Ana's instantly recognisable vocal tones. A track with a nostalgic air but a contemporary flair, it includes guest backing vocals by three of Brazil's finest, Dora Morelenbaum, Marcos Valle, and Patricia Alvi. Next, a firm favourite from their live show, Ana reinterprets and re-records a 1973 Marcos Valle classic 'Nao Tem Nada Nao', written collaboratively with Eumir Deodato and Joao Donato. During Ana's tour across 11 countries and over 40 sold-out shows, this cover quickly became a fan favourite. As audiences began tagging Valle in Instagram stories, he showed his support by reposting Ana's performances. This online exchange blossomed into a real-life connection when the two artists met at a benefit concert for Rio Grande do Sul and the idea of a collaboration materialised. Putting their own distinctive spin on the recording, Ana duets with Valle, who features on vocals and Rhodes. As the track progresses it morphs seamlessly into a reimagination of Crystal Water's anthemic 'Gypsy Woman (She's Homeless)' from 1991. This inspired yet unlikely combination blends exquisitely and is a perfect distillation of Ana's energetic and absorbing live presence.

The heir to Brazilian tropicalism, Santtana marks 25 years of his career with Brasiliano, a true collective celebration that brings together prestigious collaborators: Gilberto Gil, Oxmo Puccino, Flavia Coelho, Piers Faccini, Chico Cesar, Paralamas do Sucesso, Cocanha, Dimartino, Karyna Gomes, Tainara Takua, Rachel Reis and Maria Lado. Sung in eight different languages, Brasiliano is both an ode to linguistic diversity and a testament to it's symbolic power. Carried by luminous and layered arrangements where voices intertwine like a polyphonic conversation, the album treats language as a musical instrument in it's own right, but also as a political tool. Santtana questions cultural heritage, identity, colonial memory, and the possibility of a shared language. With his singular approach-blending popular rhythms, contemporary soundscapes and vibrant melodies-he celebrates the love and exchange embodied in Romance languages, where music becomes fertile ground for encounters and reinvention.

Tim Maia's self-titled 1973 album is one of those records that hits you from the very first groove and doesn't let go. Originally released on Polydor Brazil, this was the fourth in a series of Tim's self-titled albums-and many fans and critics still consider it the crown jewel. Packed with irresistible hooks, lush arrangements, and that unmistakable Tim Maia swagger, the album captures the singer at the peak of his creative powers. If you're new to Tim Maia, here's the quick story: born in Rio de Janeiro, Tim was a larger-than-life icon whose music married American soul and funk with Brazilian samba and pop long before "fusion" was a buzzword. A true musical polymath, he absorbed everything from Curtis Mayfield to Motown and translated it into a sound entirely his own-gritty, passionate, and full of groove. He didn't just introduce soul to Brazil; he made it Brazilian.

QUE ARDIENTE

MUSIC FROM THE CAUCASUS: ARCHIVE OF ORED / VAR

Malian balafon player Neba Solo and donso n'goni player Benego Diakite's A Djinn and a Hunter Went Walking-the first in a series of new releases in collaboration with longtime Nonesuch partner Nick Gold, former head of World Circuit Records-features the leading players of their traditional instruments: the marimba-like balafon, or bala, and donso n'goni, a hunter's harp. On the album, co-produced by Gold, Ousmane Haidara, and Sonny Johns, the acoustic instrumentals are complemented by vocals and percussion as well as touches of mellotron, guitar, and strings. The CD version includes a second disc of their original duo performances, unadorned, recorded in a Bamako garden under a mango tree. They started after the sun went down, and crickets can be heard chirping during the quiet moments.

Vinyl LP pressing. Malian balafon player Neba Solo and donso n'goni player Benego Diakite's A Djinn and a Hunter Went Walking-the first in a series of new releases in collaboration with longtime Nonesuch partner Nick Gold, former head of World Circuit Records-features the leading players of their traditional instruments: the marimba-like balafon, or bala, and donso n'goni, a hunter's harp. On the album, co-produced by Gold, Ousmane Haidara, and Sonny Johns, the acoustic instrumentals are complemented by vocals and percussion as well as touches of mellotron, guitar, and strings.

Released by Columbia Records in 1957, The Sounds of India serves as a seminal educational document designed to introduce Western audiences to the complexities of Hindustani classical music. The album features Ravi Shankar's virtuosic sitar performances alongside his own spoken explanations of traditional ragas, talas, and instruments.

After My Voyage I, Live in Guyana, the Afro-Amazonian, Valerie Tribord presents: My Voyage #2, recorded between Paris, Macon, Abidjan, Kinshasa, and New York... Renowned musicians from diverse backgrounds and musical cultures: France, the Caribbean, Guyana, and Haiti: Thierry Fanfant, Jay Brixxx, Mike Clinton, Julien Lacharme, Christophe Cravero, Lister Haussman, (Kinshasa) Master Kebs, Marie Paule Tribord, Georges Granville, Kristof Negrit, Alex Poignet, Dabo Carlos, Djanuno, (New York / Haiti) Noldy Cadet, Jp and the Beat, (Dominique) Ibis Lawrence, Bublaz (Jamaica)... 13 tracks, including various works from the solar universe, by Valerie Tribord. From Creole to French, Portuguese, and English, to Reggae, Afrobeat, Zouk/Kompa, and Brazilian ballads, what a musical journey, without borders, through My Journey II. Featured artists: Julien Lacharme (Solaar System), Lyricson, the very talented Guinean artist, and Afro Zouk diva, Ivorian singer Monique Seka, STREAMS HITS. In concert, Valerie must send you everything... On tour, starting in September 2025

GUSTADERA

NINETEEN SEVENTY SEVEN

Re-upping and expanding our 2020 sufi-flamenco grail on LP and tape format, adding 4 newly unearthed tracks to those previously thought to be Aziz Balouch's only recordings.

Next up in our Cuban Classics series, one of the jewels of record label Areito's extensive and sought-after catalogue. Ricardo Eddy Martinez's Expreso Ritmico from 1978 is a prized album fusing funk, disco, and orchestrated influences with Afro-Cuban percussion, Latin breaks, and lush vocal harmonies. Whilst maintaining it's distinctive Cuban identity, Expreso Ritmico is one of the more American / Western-influenced Cuban titles of the time drawing inspiration from jazz funk, disco, and library music. The album was directed, written, and orchestrated by keyboardist and drummer Ricardo Eddy Martinez, who was also the mastermind behind the orchestration of the Los Reyes 73 album (that was recently reissued by Mr Bongo). Martinez would later go on to work with international musicians and singers such as Gloria Estefan, Jose Feliciano, Chick Corea, and many more, whilst also working as a sound engineer in the US. Produced by Adolfo Pichardo, who worked on much of Areito's output, Expreso Ritmico is packed with gold. The opening title track carries a loose, breezy Latin-disco-funk vibe that breaks into a brilliant Afro-Cuban workout. 'Que La Tristeza Se Fue' was expertly sampled and looped by Jazzanova on their 2008 song 'Look What You Are Doing To Me, featuring Phonte from the hip hop group Little Brother. Elsewhere, 'Tambo Iya' has an Afro-funk, Soul Makossa-esque groove, while tracks such as 'Te Quedas', 'Mi Conga Es La Que Es' and 'La 132' run with a heavy pulsating Latin-funk sound. Head to the sultry psych funk of 'Este Tumbao' for a spacey journey that blends and morphs through genres. A record that was ahead of it's time, Expreso Ritmico is a superb and unique album that merges western influence with Cuban flair. It comes housed in a replica of it's original Cuban sleeve design.

LES INSTRUMENTS MIGRATEURS

CA VA CA VA

Gal Costa Released in 1969, Gal Costa is the album that cemented Gal as one of the boldest voices of Brazil's Tropicalia movement - and it still sounds thrillingly alive today. Coming right after the genre-shaking Tropicalia ou Panis et Circencis, this LP captures a moment when Brazilian music was breaking rules, blending psychedelia, rock, samba, and poetic experimentation into something totally new. Vinyl LP pressing.

PLAYS JAMAICA SKA

Albert Nadeau - I am Black Born in 1952, Albert Nadeau was a French-Caribbean singer, organist and songwriter from Martinique, known for blending local Caribbean rhythms with funk, soul and reggae inflections. After fronting the local group Les Leopards, he recorded a small but potent set of tracks in the late 1970s that showcased his raw, emotive voice and taste for groove-driven arrangements. At the heart of that period stands "I Am Black" from his 1977 solo LP. The track is a slow-burning tropical-funk/reggae cut built around a loping groove, organ-based chords and Nadeau's gritty, passionate lead vocal. Musically it sits between biguine-tinged island rhythm and 1970s funk/soul. Though it never entered the mainstream charts, 'I Am Black' - admired for the way it bridges Caribbean musical tradition with the Black Power and soul currents of it's era - has in recent years become one of the most sought-after Caribbean songs. Brother Mudada - Forward Ever Brother Mudada, born Alan Fortune, is a veteran Trinidad & Tobago calypsonian who began his career in 1961. He is known for socially conscious music that reflects calypso's tradition of political and cultural commentary. Over the decades, he earned major recognition in the Caribbean, including winning the Calypso Monarch title in St. Thomas, U.S. Virgin Islands, in 2004 and later receiving a national honor, the Hummingbird Silver Award, for his contribution to music and culture. One of his most influential songs is "Forward Ever", a calypso anthem centered on perseverance, resilience, and collective struggle. The lyrics encourage listeners to "struggle on," using patience, wisdom, and understanding like weapons in life's battles, and remind them to help others along the way. The song's message and Mudada's delivery have helped solidify his standing as a cultural voice for determination and unity within Caribbean society.

Experience the timeless elegance of Bossa Nova with Luz de Corcovado, a newly compiled vinyl celebrating the genius of Joao Gilberto, affectionately known in Brazil as O Mito ("The Legend"). Gathering his most iconic early recordings, this collection captures the pure essence of the man who laid the foundations of Bossa Nova. From the tender intimacy of "Corcovado" and "Chega de Saudade" to the gentle swing of "Desafinado" and "Bim Bom", widely considered the very first Bossa Nova song, every track radiates Gilberto's unmatched grace and rhythmic subtlety. Pressed on high-quality vinyl, Luz de Corcovado invites you to rediscover the soft pulse and poetic warmth that changed Brazilian music forever.

Next up in our Cuban Classics series, one of the jewels of record label Areito's extensive and sought-after catalogue. Ricardo Eddy Martinez's Expreso Ritmico from 1978 is a prized album fusing funk, disco, and orchestrated influences with Afro-Cuban percussion, Latin breaks, and lush vocal harmonies. Whilst maintaining it's distinctive Cuban identity, Expreso Ritmico is one of the more American / Western-influenced Cuban titles of the time drawing inspiration from jazz funk, disco, and library music. The album was directed, written, and orchestrated by keyboardist and drummer Ricardo Eddy Martinez, who was also the mastermind behind the orchestration of the Los Reyes 73 album (that was recently reissued by Mr Bongo). Martinez would later go on to work with international musicians and singers such as Gloria Estefan, Jose Feliciano, Chick Corea, and many more, whilst also working as a sound engineer in the US. Produced by Adolfo Pichardo, who worked on much of Areito's output, Expreso Ritmico is packed with gold. The opening title track carries a loose, breezy Latin-disco-funk vibe that breaks into a brilliant Afro-Cuban workout. 'Que La Tristeza Se Fue' was expertly sampled and looped by Jazzanova on their 2008 song 'Look What You Are Doing To Me, featuring Phonte from the hip hop group Little Brother. Elsewhere, 'Tambo Iya' has an Afro-funk, Soul Makossa-esque groove, while tracks such as 'Te Quedas', 'Mi Conga Es La Que Es' and 'La 132' run with a heavy pulsating Latin-funk sound. Head to the sultry psych funk of 'Este Tumbao' for a spacey journey that blends and morphs through genres. A record that was ahead of it's time, Expreso Ritmico is a superb and unique album that merges western influence with Cuban flair. It comes housed in a replica of it's original Cuban sleeve design.

LEVE LEVE VOL 2: SAO TOME & PRINCIPE SOUNDS / VAR