In 1986, Uruguayan vocalist and musician Mariana Ingold took the advice of a storied Uruguayan composer and musicologist and recorded her first album (Todo Depende) for the now legendary label Ayuí/Tacuabé. In the early ’80s, the introduction of the synthesizer fostered an experimental new approach to traditional Candombe rhythms. Ingold’s influence on the scene looms large. Pairing elegant vocals and majestic harmonies with complex arrangements, she pushed the Montevideo-specific sound — loosely termed Candombe fusion — in new directions and thrived working collaboratively with artists including Eduardo Mateo, Jaime Roos, and Hugo Fattoruso.

With the assistance of Chris J. Morris, we have extracted a collection of tracks that encapsulate this period between 1986-1991, lifting from her albums Todo Depende, Cambio de Clima, and Haace Calor.

Mariana Ingold - Cara A Cara

Kdyz se ombudsmani poperou

Když se ombudsmani poperou

My contribution to Disquiet Junto Project 0600. The opportunity to participate in this is special to me as I participated on Project 0004 which also featured wonderful samples from Marcus Fischer. I created a piece that is still a personal favorite.

Approach and process - I was extremely time constrained with only a few hours to put something together. I built it around a heavily re-worked and effected version of the file '600_PSU_stairs-mfischer'. I used Bitwig Studio, a lot of automation, and a few time stretching tricks. 

I hope Marcus provides more raw material in the future. Thank you to Marc and Marcus for putting this together.

Reaching Out And Reaching Back - Disquiet0600

Live with Ummy in the Greenhouse. Thanks to Jack and Rory.

Deep Water Greenhouse - Umut & Bridget Small

Cara A Cara

Cara a Cara

Trasnoche

Capitulos

Fue Ayer

Otros

In 1986, Uruguayan vocalist and musician Mariana Ingold took the advice of a storied Uruguayan composer and musicologist and recorded her first album (Todo Depende) for the now legendary label Ayuí/Tacuabé. In the early ’80s, the introduction of the synthesizer fostered an experimental new approach to traditional Candombe rhythms. Ingold’s influence on the scene looms large. Pairing elegant vocals and majestic harmonies with complex arrangements, she pushed the Montevideo-specific sound — loosely termed Candombe fusion — in new directions and thrived working collaboratively with artists including Eduardo Mateo, Jaime Roos, and Hugo Fattoruso.

With the assistance of Chris J. Morris & of course Mariana, we have extracted a collection of tracks that encapsulate this period between 1986-1991, lifting from her albums Todo Depende, Cambio de Clima, and Haace Calor.

Tiempo Leve

a soundtrack to float you into atmospheres; taking you to a time and place far away.

Artwork is from @brianqtn album Lubricating The Species, featuring the song Purple Martin which is the opening song to this mix. Check out his music here: brianQTN.bandcamp.com

Lubricating The Species - 01. Drowning Your Sorrows

Archival label based in Melbourne. No new demos please.

Cara a Cara

Left Ear Records

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