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viewing 1 To 6 of 6 items
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LP
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LUGAR 009LP
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$30.00
PREORDER
RELEASE DATE: 2/20/2026
"Mental baile future-funk. Impossibly, round two ratchets through higher gears than round one. The cutting and scratching skills are brutally imperious, by turn eviscerating in split seconds a trembling flock of far-flung musical prey. Out of the wreckage looms the apotheosis of apocalyptic Techno Scratch terror; the ebulliently vengeful prophesy of forebears like Grand Wizzard Theodore and the Knights of the Turntable. Blisteringly hot."
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2LP
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LUGAR 007LP
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"Espontaneamente se Tenta: Aventuras Sonoras de Djalma Corrêa is an album of deeply exploratory pieces by legendary percussionist and composer Djalma Corrêa. This double-LP set features previously unreleased recordings that cover a wide range of sonic experiments, revealing an unknown side of the prolific and groundbreaking Brazilian artist. Most of the tracks on this album were digitized for the first time -- directly from the original tapes -- and were compiled in collaboration with Corrêa just before he passed. The result is a wild and unsettling collage that shows just how original and intense Corrêa could be: from the unorthodox electroacoustic piece 'Evolução (Para Fita e Filme),' which channels ancestral African inspirations to create a sonic cosmogonical narrative, to the proto-mixtape 'Exemplo de Sintetizadores,' in which he transitions from transcendental drones to astral cha-cha-chas. While the compilation might seem disjointed at first listen, it is in fact the most accurate translation or representation of his central concept: spontaneous music. Djalma's relationship with sound was always guided by his fearless approach to listening, and by his audacious and dynamic interaction with both musicians and equipment, which enabled him to work across a wide array of genres: from jazz to completely abstract music, always through a personal DIY ethic. Corrêa developed a strong bond with experimentalist and inventor Walter Smetak, with whom he shared a studio during his formative years at Universidade Federal da Bahia. 'Suite Contagotas,' featured in this collection, is no less than a sonic materialization of that bond: an experiment revolving around dripping water and its randomness -- a tentative exploration of the ideas and possibilities envisioned by Smetak for his audacious, albeit unrealized, Estúdio OVO. Djalma, however, is best known for his studio work in historical albums, including many by Caetano Veloso, Gilberto Gil, and Jorge Ben, and for his own polyrhythmic opus Baiafro. The last track is an early recording called 'Bossa 2000 dC,' first performed by Djalma at the 1964 Nós, Por Exemplo concert, an event which is often cited as marking the beginning of the Tropicalia movement. At the time, he was the only artist in the lineup using electronic devices to create sounds, e.g. medical oscillators and contact mics to augment his percussive palette. The artwork is an amalgamation of material found in the Djalma Corrêa Archive (currently managed by his son Caetano Corrêa) and other material created during the period in which the record was being put together."
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2LP
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LUGAR 004LP
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"The fourth release from São Paulo label Lugar Alto is not a Brazilian production but it still has strong ties to the country, it is the psychotomimetically heuristic ambience of The Dreambird by Mitar Subotić (Suba) & Goran Vejvoda. The album was produced in Paris in 1987 and five years later was the first release by Suba in Brazil as a limited edition CD put out by the Brazilian Catholic label Paulinas COMEP. The album was made while Goran Vejvoda was living in Paris. Relaxed days were spent sitting around, tinkering with sounds, going out, having lunch, coming back and playing some more. Pascal Humbert, bass player from the French band Passion Fodder, joined the duo for a day. Goran had a Japanese field recording CD called Bird Island Seychelles that contained the exotic bird sounds and sea waves used to create the organic textures of the album. Suba left with the 8-track tapes and rough mix cassettes and adapted the music for a sound art installation/happening by the Danube in Novi Sad where The Dreambird was played, climaxing with a laser show. Mitar Subotić aka Rex Illusivii aka Suba, was born in 1961 in Yugoslavia. A renowned innovator in his home country but is best known in Brazil for his 1999 CD São Paulo Confessions, a hugely important release that effortlessly walked the line between modern MPB and '90s electronica, influencing a whole generation of Brazilian music makers. Tragically, he died just after it was released and could never benefit from its critical acclaim and success. The Dreambird was recorded in Paris one year before 'In the moon cage', a similar project using the pseudonym Rex Illusivi. This was a recording of exuberant synth scapes, ambient guitar and Yugoslavian folk which was awarded the International Fund for Promotion of Culture from UNESCO, and included a three-month scholarship to research Afro-Brazilian rhythms in Brazil. The album was released in 2015 by Ivković's Offen Music. It's challenging to trace the story of this project precisely, very little information is available and what we have are diffused fragments of memory from different actors. So, we return to the initial question: what is The Dreambird? It doesn't matter if it is either an environmental statement or simply relaxing spa music, what it does is evoke sensations that elevate your mind to a higher and more emotional plane and from there you can travel wherever you like."
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LP
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LUGAR 003LP
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"Lugar Alto's newest project is the idiosyncratic album MUMIA (portuguese for MUMMY). Never released before, it is a work that was originally recorded on cassette and combines elements of post-punk, industrial and ambient music. Kodiak Bachine and Celso Alves formed the ephemeral and eponymous duo in 1988. The partnership resulted in a single recording derived from improvised sessions using minimal amounts of electronic equipment at Celso's country house, located in the interior of São Paulo. Bachine was an important figure in the São Paulo underground. His most renowned project was the band Agentss from 1981, which also consisted of Miguel Barella, Eduardo Amarante, Elias Glik and Lyses Pupo (later replaced by Thomas Susemihl). In its brief duration, the band released only two seven inches that were considered seminal artifacts in the Brazilian post-punk scene: 'Agentes / Angra' from 1982 and 'Professor Digital / Cidade Industrial' from 1983. These two rare records are highly sought after by collectors and DJs from around the world for their inventiveness and originality. Similar to Agentss, MUMIA brings with it extreme authenticity, managing to extrapolate the barriers of more traditional Brazilian music and interact with unorthodox elements. The lyrics are a mixture of Portuguese and English and it is still possible to identify picturesque fragments of Spanish, French and German. In addition, sonically, the record portrays aesthetics from the eighties and dialogues with themes relating to LSD. Another notable feature is the fixation on Egyptian post-mortem themes, providing a cinematic and lysergic experience of the desert landscapes from the African country. It is a recording with comic passages which provokes an unpretentious reaction from the listener. However, it still has more ethereal and atmospheric moments, such as the opening song 'Ave do Deserto'. In the final two tracks, it is possible to enjoy a darker MUMIA, which with 'Massacre da Serra Elétrica I' and 'Massacre da Serra Elétrica II', provide a sound experience capable of accompanying intense scenes from the macabre productions by Tobe Hooper and George Romero. The striking new artwork was created by the Sometimes Always studio, a partner of Lugar Alto and responsible for diverse graphic collaborations with artists, venues and parties in Brazil. The album, mastered by the prolific Arthur Joly, also has a booklet containing Kodiak's texts in Portuguese and English, in addition to the lyrics, which serve as a logical exercise for further understanding of the album. MUMIA was unearthed by the renowned Brazilian DJ Millos Kaiser, who in addition to kindly curating this album, put together the compilation Onda de Amor: Synthesized Brazilian Hits That Never Were (1984-94), released by Soundway Records. Now, after 32 years in its tomb, the MUMIA has risen and thanks to Lugar Alto it can finally be celebrated and appreciated."
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LP
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LUGAR 001LP
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"Lugar Alto presents their very first release: the incredibly rare and absolutely stunning Homenagem, by Leonardo V. Boccia. This is a forgotten gem from the eighties that examines traditional Brazilian themes such as choro, northeastern folk, and capoeira with touches of eighties electronics and new age. Leonardo Boccia is a musi-cian, multi-instrumentalist, composer, researcher and university professor of Culture and Society at the Federal University of Bahia, whose interests include sound studies, manipulation of sound media, audiosphere and aesthetics, musical theatre, audio cul-ture and neuromusic. Born in Italy, this respected academic studied music in Berlin, moved to Rio de Janeiro and established himself in Salvador where he was invited to research the northeastern music of Bahia. There he created the experimental group Macchina Naturale, an eclectic combo that performed regularly during his stay. In No-vember 1980, Boccia participated in the first Instrumental Music Festival of Bahia as a soloist where he performed works of his own. But it was in 1983 that Professor Boccia composed, directed and produced the LP Homenagem. With photos by renowned photographer and artist Mario Cravo Neto for the front and back of the jacket cover, the album presents new and original compositions for instrumental ensembles, such as: 'Choro Fantasia' -- for guitar and berimbau --, 'Canção para Iracema', 'Home-nagem', and 'Lenda do Sertão'. The LP was originally released on January 3rd, 1984, with a live performance in the main hall of the Castro Alves Theatre under the title Trib-ute to Brazilian Music, with the participation of vocalist Sueli Sodré, who contributes to the album, instrumentalists Zeno Millet and Onias Camardelli, accompanied by chore-ography and visuals. Much of Homenagem examines the genre of Brazilian music known as Choro, or Chorinho, a genre which appeared in Rio de Janeiro in the 19th century. Choro is regarded as the first typically Brazilian urban music and, over the years, it has come to be considered one of the most prestigious genres of national pop-ular music. Stylistically, it originates from Lundu, a percussion-based rhythm of African inspiration but also influenced by European genres. The instrumental composition of choro was based on the trinca flute, guitar and cavaquinho. Over time, other wind and string instruments were incorporated. Here, in Homenagem, Professor Boccia deliberately mixes the old and the new, the traditional and the innovative; the album is the environment of Chorinho reconsidered and recontextualized, and its melodies and harmonies still capable of surprises. Just listen to 'Terra e Povo' -- it has an almost pro-to-acid-house quality to it, while the synth washes on 'Mãe Natureza' with the ethereal vocal stylings of Sueli Sodré ushering in the progressive quality of the album. Too long out of print, new label Lugar Alto now offers you the chance to reappraise this fascinat-ing reissue of yet another forgotten chapter in Brazilian music."
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LP
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LUGAR 002LP
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'Following on from Homenagem, Lugar Alto's first critically acclaimed project, the São Paulo label's new endeavour is the reissue of another neglected masterpiece. This time, it's Poema da Gota Serena turn by Zé Eduardo Nazário from 1982. This unique work gathers elements of free jazz, Brazilian Northeastern rhythms, Asian percussive instruments and electronics. Zé Eduardo is a virtuoso drummer and percussionist with a prolific career as a musician and teacher. He was introduced to music in his youth and started playing professionally at the age of thirteen. In the late 60's he was a regular at the famous Totem night club in São Paulo, where he performed alongside the pianist Tenório Jr. and other exceptional instrumentalists. It was there that he met Guilherme Franco, and together they formed the Grupo Experimental de Percussão. This period defined Nazário's interest in different sonorities involving percussion, and he broke away from the more traditional genres, such as bossa nova and jazz. Over time, this distinctiveness in sound and playing allowed him to create his own path which culminated in an extensive number of remarkable works, including the colorful and psychedelic 'Mandala', which examines Indian and hippie themes. He also played with Hermeto Pascoal's group and joined him and Jaques Morelenbaum for the recording of the cult classic 'Imyra, Tayra, Ypy' by Taiguara. For Egberto Gismonti's 'Nó Caipira', Nazário performed with the khene, a mouth organ from Laos, a present from Gismonti himself. Each side of the album explores different duets which, with its suite formatted tracks, give the album the feel of a cohesive whole. The first half of the A side, 'Energia dos Três Mundos', is shared with the improvised saxophone of Cacau. Nazário delves into free jazz rhythms and plays his drums with a rolling and tumbling swing, using the kit in full, demonstrating the power of Brazilian jazz fusion. The second half of the suite takes us into a more tranquil mode. 'Só Prá Ouvir', demonstrates Zé's mastery on the glockenspiel, and Indian percussion instruments, such as the tabla and mridangam. Cacau, on his side, switches his saxophone for more delicate dancing flute driven passages, equal parts northeastern rhythms and deep Amazonian indigenous influences. The B side, with 'Prá Pensar/Prá Sentir e Prá Contar', contrasts heavily with the A side's more organic and natural feel. In Prá Pensar Lelo Nazários's synth clusters and electronic blasts strangely interact with the exploring, wandering percussion. This track leads into the sublime 'Prá Sentir e Prá Contar' where South Indian inspired vocals, performed by Zé Eduardo, accompany the graceful synth chords and fluttering percussion. The result is a hypnotic, otherworldly feel to the music that is infectious and takes the listener on an extraordinary journey. With Poema da Gota Serena, it is possible to hear music that extrapolates the lines of the avant-garde and popular music. It is an album the demonstrates that Brazilian jazz fusion can be both spiritual and challenging at the same time. All the tracks were expertly remastered by Lelo Nazário, directly from the original tapes, maintaining the high quality of production that Lugar Alto are becoming renowned for. All the artwork was reinterpreted by the São Paulo design studio Sometimes Always, including an exclusive insert and unpublished images. It seems that Lugar Alto have managed to excavate yet another gem from the seemingly bottomless Brazilian mines. Long may they continue to do what they do so well.'"
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