Suffer and Swim ft Allysha Joy

01  - Your Soul

Senegal - 3

Taken from the album 'Home' - due out in mid-February on Sound of Speed Records.

Culross Close are:

Eli Emmnauel - Bass
Hasani - Percussion & Incense
Anthony Kieron - Keys
Nathaniel Jiddu - Synthesizers
May Goode - Drums


Artwork c/o of Ears -  http://earstotheground.net/

Pre-order

Requiem + Reflections

Collage EP

astral / collage

Production @Nu Guinea
Mixed by @jan-b-300086776 
Mastered by @BenjaminTierney
Photo by @LeaGotfredsen
Artwork by @Krashkid

Lyrics:  https://genius.com/Wayne-snow-nothing-wrong-lyrics

Little brother don't you worry
Things will be fine
There's nothing wrong
In our struggle we feel weary stranded alone
There's nothing wrong

We've come so far
From bread to ashes
Thoses days are over
 Nothing wrong

We can be free
I know from within
It will be real
Nothing wrong

Nothing Wrong

A-side off upcoming 12" single through Mandarin Dreams.
https://mandarindreams.bandcamp.com/album/to-the-floor

Dufresne- This Song Was Appropriated

Won't Get Better

02. Scrimshire - Won't Get Better feat. Emma-Jean Thackray

Celebrating its 25th anniversary, Far Out Recordings proudly presents two albums of previously unheard Azymuth demo recordings from 1973-75

Since their debut album release in 1975, Azymuth have risen to rank alongside the world’s greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock ‘n’ roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature ‘Samba Doido’ (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid.
But before they became Azymuth, Jose Roberto Bertrami (keyboards), Ivan ‘Mamão’ Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil.

Bertrami was also contracted as an arranger and songwriter at some the biggest labels of the era: Polydor, Philips, Som Livre, and EMI being just a few. Azymuth’s name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music - from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward.Any spare moment in which they weren’t in sessions and writing music for other artists, they would be carving out their own sound.

These previously unheard recordings took place between 1973-75 at Bertrami’s home studio in the Laranjeiras district of Rio de Janeiro. At the time of recording, there was nothing in Brazil, less the world that sounded anything like them, so perhaps it’s unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, and told in effect that the music was ‘wrong’.

One of the demos ‘Manhã’ would be picked up by Som Livre and Azymuth released their seminal debut album in 1975. Throughout the late seventies and eighties, the group released a series of now classic albums for Milestone Records, before taking an indefinite hiatus to pursue their individual careers.
When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Joe recalls how he was “blown away by the freedom and intensity of the music, as well as the genius of the ideas musically.” Beginning a long and fruitful relationship, ‘Prefacio’ would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996).

Along with ‘Manhã’ and ‘Prefacio’, only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form.

On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros and Conti were realising at the time. Fifty years on, Azymuth’s earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.

Vinyl / CD / Digi

Azymuth - Manha

East Coast Collective

Fanni Zahar - flute
Szabolcs Bognar - Rhodes, synth
Levente Boros - drums

Mixed at Studio Einz, Budapest
Mastered at Analog Cut Berlin

02. Scrimshire - Won't Get Better feat. Emma-Jean Thackray

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