Little Butterfly Vinyl, CD & Tape 20 Items

Dias De Blues (from Montevideo, Uruguay) was formed in 1972 by Jorge Barral (bass), Daniel Bertolone (guitar) and Jorge Graf (drums). They developed a blues and heavy rock style that was characterized by the virtuosity of the musicians, a straight ahead rhythmic base and lots of energy and aggression. With all these elements the band created mind bending, extensive improvisations. This is a reissue of the band's 1972 album.

If the first album by Los Problems "Malditos banquetes" already introduced Ernesto Tabárez aka E.T as an unique character with a fierceful energy and sound, and second work "Vil" is proof of his skills as a hitmaker that should be mainstream in a more sane world, "El éxodo" appeared as best of both worlds, as a result, an album that was (and is) in a way, an intimate catharsis during a period of changes, expressed throughout songs with lyrical finesse that evoque Tabárez's obessions (from basketball to Steinbeck's work or the religious overtones of The Who-but 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, climbed on 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 imaginary, this track helped E.T. Y Los Problems and "El éxodo" album to establish themselves as one of the last standing groups of Rioplatense rock scene.

"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.

Martín Ibarra and his Nair Mirabrat ensemble bring a garden variety of electrifying rhythms with "Juntos ahora", fusing together elements of candombe fusion, jazz, and pop. Deep in the Montevideo music scene, Nair Mirabrat effortlessly transcends genres and local tradition bringing forth a new era of influence as they revel in the bliss of Ibarra's soaring vocals over tropical rhythms. Ibarra and crew are a modern-day mixture of Jaime Roos, OPA, Hugo Fattoruso and Eduardo Mateo with their explorative, forward-thinking passion of keeping it 100% Uruguay.

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, Sao Paulo, and naturally his native Montevideo. In Tridimensional you'll ?nd a myriad of re?ections, 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 ?rm step to the intergenerational staircase of art in Río de La Plata's ever-growing culture.

Directly connected with the universe of America Invertida, Jorge Galemire's second album, recorded and released in 1983, is 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. A forgotten gem reissued for the first time since its original release. '

Description

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 por qué" 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.

All played the best out of them, maybe at Galemire's influx or just for the joy of participating in such an attractive project.

Segundos afuera was released at the end of 1983 and 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. It was only in 2020 that the album was released on streaming sites.

This mythical, but almost unknown album is now sounding again, showing its beauty intact.

Nair Mirabrat Is A Uruguayan Ensemble Led By The Composer Martín Ibarra. The Candomberos Of Montevideo Are Dressed In The Infinite Colors Of The World And They Immerse Themselves In The World Of Song And Dance, Building Bridges Between The Inside And The Outside."Juntos Ahora" Is Built Based On The Myth Of The Hero And His Journey Through The Symbolic Labyrinth.Death, Time And Place Are The Themes Where The Lyrics Wander.Description Martín Ibarra And His Nair Mirabrat Ensemble Bring A Garden Variety Of Electrifying Rhythms With "Juntos Ahora", Fusing Together Elements Of Candombe Fusion, Jazz, And Pop. Deep In The Montevideo Music Scene, Nair Mirabrat Effortlessly Transcends Genres And Local Tradition Bringing Forth A New Era Of Influence As They Revel In The Bliss Of Ibarra's Soaring Vocals Over Tropical Rhythms. Ibarra And Crew Are A Modern-Day Mixture Of Jaime Roos, Opa, Hugo Fattoruso And Eduardo Mateo With Their Explorative, Forward-Thinking Passion Of Keeping It 100% Uruguay. Chris J. Morris

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” and Rada, “La yapla mata” (which included the classic song ‘Tengo un candombe para Gardel’). 140 gram vinyl with OBI & Insert This initiative 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 that 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. This album is exceptional and one-of-a-kind, an overflow of talent, musicality, swing, imagination, rhythm, spark, and transcendence. Guilherme de Alencar Pinto

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 9 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.

A hidden gem of Uruguayan music, Los Terapeutas's second album, released in 1990, is an original take on candombe and its hypnotic groove, blending pop songcraft with expansive soundscapes, never losing their rhythmic pulse. 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. The album 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.

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. 'Hogar' 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. 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 (in Los Espiritus he had quoted Manal in "Perro viejo", one of the best songs of his career) and manages to mix it with popular sounds that look towards Uruguay, the land of his parents.

In ¿Quién?, Sylvia Meyer combines music, image, sound and poetry. Her lyrics, so subtle, acquire a singular dimension. They grow and become an essential lyricism that vindicates art and music. Almost 30 years after her last album release, Sylvia Meyer released ¿Quién?, an album where everything happens between his piano and his 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 us 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. His music manages to transcend the borders of cinema, theater, concerts and art. "Because a the music, the only thing that interests is music" repeats Sylvia Meyer

Campo's debut album, released in 2012, was a milestone in the new South American music scene. The brainchild of Juan Campodónico - one of the creators of Bajofondo - combines sophisticated pop, electronica, and South American roots, uniting past and present in a unique way. Neo-cumbia, tango, and candombe shake hands with Britpop, soul, and trip-hop in a timeless album. 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, 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.

"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 country side'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.

In this album the artist tries to unite the different universes that they currently inhabit.An aesthetic that took up the synthwave of the 80's 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 that 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 dentro starts with Regreso that plunges us into arpeggios of guitars, percussion, and trumpets in a mysterious and candombero cadence. Seven minutes that towards the end "melt" between digital sounds and open the door to Void. Synthetic, happy and pop, 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 (feat. 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 pa...