DjeuhDjoah Lieutenant Nicholson
Aimez Ces Airs

After a first year of activity with 3 beautiful single reissues, SOL DISCOS presents its first album, with the compilation Message In Our Music, selected by WAXIST. Focusing on Modern-Soul genre, the selection ranges from 1977 to 1983 and gathers a nice selection of independent and private press records, all officially licensed.From the David Nathan's downtempo previously unreleased version of "Ain't Nothing Like The Love", to the beautiful Glen Missick's gospel dancer "Message In Our Music", the album aims at providing to the listener a glimpse of the wide spectrum of productions that exist in this musical genre.Some of these beauties are officially reissued on vinyl for the very first time, including some highly sought after records such as "Deep Inside Of You" by Harden Brothers, "My Dream" by Harvell Guiton, or "Love With Me" by Don Scott.The album has been fully remastered by The Carvery in the UK, and features liner notes for each of the songs, plus exclusive pictures provided by the involved artists & producers.

The music on this compilation was, for the most part, originally released privately in Geneva in 1988; the Mega Wave Orchestra, the brain-child of musician, mathematician and composer Christian Oestreicher, was conceived as an multi-media electronic music orchestra. The Orchestra created a new hybrid music. It was a music with roots in the jazz and classical traditions, but one which also drew on the sonic freedom of musique concrete and the kind of total experience offered by psychedelia. The diverse backgrounds and specialisms of each of the band members/writers resulted in a wide variety of music: from austere drones and granular aural detail to warm oddball fusion and gorgeous but cracked vocal jazz. But it was Oestreicher’s presence, at both the start and end of the process, that provided a sure conceptual framework and a comprehensive sound world. There are useful contemporary comparisons to be made: zoned synth jazz like the Azimuth LP on ECM or Karin Krog’s Freestyle; Larry Heard’s sequencer dreamtime; the Valium minimalism of Pep Llopis or Jun Fukamaki; Dexter Wansel’s shimmering arrangements for Loose Ends, or even the FM sheen meets cold war threat of Donald Fagen’s Night Fly. Here, too, is the sound of music technology about to snowball and define its own aesthetic, unknowingly prefiguring auteurish bedroom producers like Black Dog or The Detroit Escalator Company.The heart of this music’s appeal lies in Oestreicher’s complex intentions and methodologies. He revels in occupying the unsteady ground between analogue and digital, pushing his players to robotic precision while opportunistically grabbing on to the unpredictable results of computer error. He harks back to communal rigour of big band or orchestra structures, while understanding beautifully that the sounds of the future will not be synthesised imitations of existing instruments but something entirely other. He seizes on the value of resituating or recombining the sounds given to him by his bandmates, twisting them out of shape to create vivid new worlds for the listener to occupy. As a mathematician, he approaches the problem of group music making with a seriousness that results in beauty as a matter of course.

Born in 1949 in Recife (Brazil), Roberto De Melo Santos, despite a very light discography, is among the true icons of the Brazilian Soul music under his artist alias, Di Melo. He’s indeed only needed an eponymous album, released in 1975 on Odeon, to assert himself as a star in his native country, but also as a legend for all collectors and connoisseurs of the world. More than 40 years after its release, this famous album sells for several hundred euros in its original version, and even for the few reissues that were offered. Not very active since then, Di Melo however returned in 2016 with the album O Imorrível, released on the Brazilian label Casona Produções.It is then that a year later, came a meeting with the French group Cotonete, that Florian Pellissier, founding member and keyboard within the band tells us about: “On tour in Brazil with Cotonete, we had a few days off in Sao Paulo and I really hoped to make a collaboration with an important artist or band from the Brazilian funk scene. We had thought of Marcos Valle, Meta Meta or Ed Motta... but Rafaela Prestes our Brazilian "sound ingineer/genious" told me she’d worked with Di Melo for his recent comeback and gave me his number. No sooner said than done, as I'm a huge fan of Di Melo. The next day he arrived at our house with Jo, his wife, and Gabi, his daughter. He takes the guitar in front of us and gives us a private show of 3 hours… we cried the tears of joy. He had 400 original songs never recorded, a gold mine. On the same night, we started working the arrangements for 2 days, followed by a rehearsal and two small gigs in Sao Paulo. Immediately after, we recorded in the magical Epsilon B studio. This album is the summary of this moment, of these 5 days of madness spent together between “the best band in the world” and the legend Roberto Di Melo… Simple, beautiful, Brazilian-French, human music…”Today, Atemporal found its final version in collaboration with Favorite Recordings and is proudly presented as what we believe will become the genuine long-awaited follow-up to the classic Di Melo’s LP.

Gentle waves lap the soft white sand. The limitless ocean fills the view as the sun slowly sinks below the horizon. As the day ends in blue and orange tones, the heat begins to subside, a sure sign that the slow evening migration from the beach will soon begin. A pleasant, yet formidable music comes from the radio tuned into a frequency transmitted from Paris. Maybe it was written and recorded in the 70s, or maybe it has simply soaked in that aesthetic all the way down to the pauses. It doesn't really matter. Delving deep to explore the roots of Brazil’s musical tradition, the Camarão Orkestra has tapped into Candomblé and its rhythms. Born on the drums of enslaved Africans in a ritual that invokes numerous deities, they lay the foundation for this new album, Nação África.The eleven musicians, guided by Amanda Roldan’s silky voice and guest appearance by Anthony Joseph (“Canto De Bahia”), explore and embrace the murmuring polyrhythm of Brazilian percussion instruments, vibrating berimbau and squeaking cuícas, pouring their tightly-wound funk bass into the groove and letting their jazz fly free, together and solo.The seven nonchalant tracks get your hips swaying, whether you’re in a comfortable armchair or surrounded by other dancers. They take your mind far away, on a journey paved by analog synths with Fender Rhodes crystals to the horizon where the sun’s last glimmer has finally faded away. The brass section’s shiny bells, valves and keys reflect the images and ambiance of the soft Brazilian night air.

The reggae rocker, Courtney John unleashes his new album, Ecosystem, born from collaboration with the French label Soul Man Records which also produced the successful album Reggae Loves Soul!Alongside the vinyl LP comes this single 7inch including 2 stunning tracks.