BIS => 2025 06 27
1LP - DISCOS NADA
1973 => 2022

TRACKLIST
A1 Cau– Coisa E Tal
A2 Liliana – Prá Quem Sabe Das Coisas
A3 Renato Mendes– Aldeia
A4 Marcão – Mutação
A5 Cau– San Fernando
A6 Eulalia – Fim De Noite
B1 Cau– Último Canto
B2 Cau– De Você No. 2
B3 Vera – Rosas E Garrafas
B4 Liliana (– De Você No. 1
B5 Renato Mendes– Milagre Azul

DESCRIPTION
According to Disk Union / Think Records that just made a CD reissue of this record:
"Mysterious Acid Bossa Psychedelic Folk masterpiece recorded in 1971 and released in 1973 on a small Brazilian label. Recorded by students of the law school in São Paulo, under the influence of "Sgt. Pepper's" mixed with Bossa Nova. It's a chaotic yet delicate and sophisticated.
I can't imagine it being composed or recorded by amateur musicians that they were, except by Renato Mendes, who has been active as a first-class musician since the Jazz Bossa period and was a brazilian pioneer recording an album using a Moog synthesizer in 1974. It can be said that it greatly contributes to the miraculous perfection of this work.
Known among record collectors as a record that attracts not only Brazilian music fans but also Psychedelic and Acid Folk fans, the original version is a gem and sells for over USD1000."
One of the rarest and most enigmatic LPs in the Brazilian discography from the 1970s, Pra Quem Sabe das Coisas, released in 1973 by the label EBRAU (Editora Brasileira Artistas Unidos), finally has a refined reissue and its mysteries revealed, exactly half a century later, considering that it was recorded in 1971, but put in the market as a 12-inch record only two years later.
During a telephone chat packed with affectionate memories, Cau Pimentel (Cláudio Gama Pimentel), singer, songwriter and occasional guitarist with great sensibility and talent whose main professional activity involves criminal law, brought to the surface a story of passion for music that allowed great friendships to flourish, in the bubbling environment at the University of São Paulo’s Largo do São Francisco Law School, where he graduated as a lawyer. It was at the famous Coral da USP choir that the group gathered. The shared talent for music, by the way, explains the title “pra quem sabe das coisas” – for those who know the stuff. When the subject was popular music, Cau, Marcão, Benê, Bi, Vera, Eulália e Liliana were unquestionable amongst their peers.
Over two years, between 1969 and 1971, the group of instrumentalists and singers develop the repertoire recorded on the LP. They also have a crucial support: the polished assistance of Renato Mendes (1939 – 2013), Cau Pimentel’s cousin and one of the most celebrated organ players in the country, established in samba-jazz albums such as Renato Mendes & Seu Orgão (Mocambo, 1963) and Orgão de Vanguarda (Chantecler, 1965).
Gathered by Cau, the tracklist of Pra Quem Sabe Das Coisas remains, 50 years later, impactful and hard to label. The vocal harmonies, the sophistication of the arrangements and the existential density of the lyrics produce an atmosphere of rare beauty and unusual perception of aesthetic unity, as this is a collective record. A curiosity that might explain the difficulty in finding original copies of the LP: a significant share of the batch of 500 unities, which was paid by the XI de Agosto Students Union, was distributed amongst relatives of the artists and students at São Francisco law school.
Below, Cau Pimentel reveals other mysteries of this small treasure of Brazil’s best popular music.
---The complete interview with Can is part of the record insert.---

BIS => 2025 06 27
1LP - DISCOS NADA
2021

TRACKLIST
1. Onirico 07:27
2. O Contar de Uma Raga 14:29
3. Raga na Amazônia 11:39
4. Solaris 10:34

DESCRIPTION
It is rather fascinating Jocy de Oliveira's journey as a creative and sensitive inhabitant of our planet. She is a masterful composer, interpreter, multimedia artist, and storyteller. Her pieces are influenced by the avant-garde of the 20th century and all cultures and languages on Earth, emphasizing the importance of feminism, science, and the environment.
Jocy started composing at the age of six and was introduced to piano studies at a very young age by her mother who was a poet and pianist.
Her talent and dedication brought her to work alongside eminent 20th-century music masters such as Igor Stravinsky, Oliver Messaien, Luciano Berio, Claudio Santoro, John Cage, Xenaxis and Karlheinz Stockhausen.
This became a vital experience in her artistic life and she performed world premieres of works by many of these great composers.
Jocy witnessed and experienced the rupture of several paradigms of Western music. She incorporated serialism and electroacoustics, dialogued with ritualistic music and indeterminacy that boomed in the revolutionary 1960s. Along this path, joining her fascination with theatricality and the desire to tell stories, she immersed herself and subverted the language of traditional opera, following her heart and her instincts over nine operatic pieces.
This album is dedicated to a production that goes from the mid-1980s to the early 1990s. That was a very troubled period in the artist's life in the face of the significant loss of her father, followed by health problems, accidents, and staying away from her main instrument, the piano. She chose to give up her pianist career and intensify her authorial production. She explored the multiple possibilities of multimedia and multidisciplinary language, composing and presenting, among other pieces, two "magical operas" of great relevance, from which we selected pieces and extracts to be part of this album.
Fata Morgana (1987) is an electroacoustic opera that elaborates the imaginary and mythologies linked to the feminine sacred, associated with the cosmology of contemporary physics. The show features a collection of dream memories and images, giving emphasis to ritualistic gestures.
“Inori – to the sacred prostitute” (1993) also rescues matriarchal values based on the diversity of languages, cultures, races, beliefs, and religions. The lunar set celebrates the mysteries of the unconscious through a language open to fate and experimentation.
On side A, “Oniric” from the opera Fata Morgana (1987) presents electronic music performed in real-time along with voice. It’s interesting to note the presence of electronics in real-time unifying the album’s concept.
Jocy uses a Yamaha TX and DX7 synthesizer, instruments that permeate all selected parts.
The following pieces are two ragas : “Telling of a raga” from the same opera, and on side B “Raga in the Amazon ” plus “Solaris”, segments from the opera “Inori – to the sacred prostitute”.
All tracks are unreleased on vinyl. During a conversation , Jocy told me: “Raga is used by me in the sense of emotion, color, not exactly as musical modes in Indian music, although there is a search for the universe energy and human being integration. This was very much what I felt when I heard Carnatic music in India. There is dignity and respect there which make us feel an integration with the cosmos.”
As a curator, another of my focuses for this album is experimentation that confronts the limits between composition and indeterminacy. Speaking about Stockhausen in her book “Dialogue with letters” (SESI-SP, 2014) she says: “Mantra for two pianos by Stockhausen is one of his works that most fascinates me for certain qualities that sounds like improvisation and, are strictly determined. A challenge for pianists.” Jocy brings much of that focus to her Ragas.
The first title for this release was “Extratos Oníricos”, but during production, the composer sent us the following message: “I was thinking about the project of LP from the ‘80s and I believe the best title could be “Raga na Amazônia.”
I think the title would be more up-to-date, although I presented many concerts and events in the 70s and 80s focusing environmental questions, we still need to continue fighting for Amazon.”
About experimental music, in her same book, Jocy clarifies that "John Cage said that the word experimental should not describe an act in terms of future judgment, as to its success or failure, but should be applied to an act whose result is unknown"
During an interview at “Dialogue with composers” project, organized by the Brazilian Symphony Orchestra (OSB) in December 2020, Jocy spoke about the importance of music in her life: "I don't think of music as a career, but as a destiny. I express myself through music because this is my way of manifesting myself. It is my voice, my cry, my groan. ”
Paulo Beto

BIS => 2025 06 27
1LP - DISCOS NADA
1986 => 2021

TRACKLIST
1. Fragmentos 08:31
2. Sol da Manhã 04:53
3. Dia Claro 05:08
4. Tua Casa, Minha Casa 03:40
5. Quarto 05:49
6. Sala 04:38
7. Cozinha 02:08
8. Pela Janela 02:23

DESCRIPTION
Brazilian percussion is a universe apart. The fusion of African and Brazilian cultures and rhythms has generated many talented musicians who have gone deep into Brazilian roots to search for its essence and thoroughly research all of our diversity. Many of the percussionists have been transformed into an "export products” worshiped worldwide: Airto Moreira, Naná Vasconcelos, Djalma Corrêa, Fernando Falcão, Pedro “Sorongo” Santos and Marco Bosco, among many others.

Marco Bosco started his personal journey in the 70s, but the biggest impact happened when he released his first solo work, Metalmadeira (1983), a journey made up of acoustic and electronic textures, sons of nature, vocoders, synthesizers and sequencers.
Fragmentos da Casa, his second solo album, had a striking concept, explained by the artist himself, from the original press release : “Antagonizing the synthesized universe of digital equipment and instruments to an acoustic aesthetics; plus emphasizing the timbristic characteristics of percussion: Fragmentos da Casa is a musical interpretation of a journey - one night and one day - through the rooms of an imaginary house”
Reissued for the first time, Fragmentos da Casa was originally released in 1986, by Carmo, owned by Egberto Gismonti. Carmo also released albums by Gismonti, Piry Reis, Fernando Falcão, Nando Carneiro and André Geraissati, among others.

In 1986, or Marco Bosco's percussive arsenal was unique and extremely peculiar, containing chizanzhi, caxixis, purrinhola, requo-requo, shequeres, berimbaus and lingo drum, among other instruments.

This fusion of acoustic and synthetic, promoted by some Brazilian artists in the 80's and celebrated worldwide, still brings memories to the percussionist. For him, the arrival of those electronic gadgets "was the best thing that happened on the planet".

This reissue includes a reproduction of the original artwork, new testimonies by Marco Bosco and a a long article signed by Bento Araujo, author of the series of books Lindo Sonho Delirante, which investigates audacious and fearless music produced in the Brazilian underground.


BIS => 2025 06 27
1LP - DISCOS NADA
1985 => 2020

TRACKLIST
1. Falando Alto 03:36
2. No Dia Em Que Partiram 01:48
3. A Lua, As Estrelas 03:48
4. Não Imagino 02:10
5. Lá Dentro 02:39
6. Peixe Pedra 02:16
7. Amor Platônico 03:03
8. Conversa (Bonus Track) 02:49
9. Intervalo 02:44
10. Ciência 05:29
11. Ar de Amor 03:26
12. Sem Teto 03:03
13. O Poeta 00:58
14. SP5 4R (Base) 04:06
15. Pallazo Uno (Bonus Track) 02:26

DESCRIPTION
1985 was one of the most important years in Brazil's recent history, when the country was freed from more than 20 years of military dictatorship. The youth took the lead and finally Brazil entered the world show business circuit with Rock In Rio festival. But the real revolution was happening in the underground and this record is a proof of that.
One of the people in charge was the musician, composer, poet, writer, scriptwriter and speaker from Rio de Janeiro Ronaldo Tapajós, who was always involved with experimental and avant-garde music. His trajectory begins in the mythical 1968, when, as part of the the duo Rô and Carlinhos, he released an emblematic single containing the song “O Gigante” - perhaps the first Brazilian bad trip recorded on vinyl and a shrewd criticism of the society's “square” habits.

Cinema was an experimental and avant-garde piece released in early 1985. In many ways it’s an example of the new Brazil that was reborning after 21 years of darkness under Military Dictatorship. Musically, it was a pioneer album for Brazilian music, mixing acoustic and synthetic sounds.
This rare adventure in Brazilian music was released independently in 1985, financed by the artists themselves. The original small press sold-out, belonging now to record collectors around the planet. For the first time Cinema is re-released on vinyl, with two extra and unreleased tracks found after decades.
Remastered from the original tapes, this reissue includes reproduction of the original graphic art, new testimonials from the four members of the project and a long article signed by Bento Araujo, author of the book series Lindo Sonho Delirante, which investigates audacious and fearless music created in the Brazilian underground.
According to Cinema’s LP press release: “in the era of visual music, Cinema is sound”. In terms of sound, listening to this album feels like diving into an intriguing anguish of trying to understand how the relationship between technology available at that time (1983-1984) and the more organic instruments happened, this duality between synthesizers/effects with percussion, woodwind instruments, piano and clarinet. In other words: how was the coexistence between the synthetic and the acoustic? This paradox seems to seduce collectors, DJs and enthusiasts of Brazilian music from the 80's around the world.
This fictional soundtrack has a dark mood, as if a fog of dark and ambient music insisted on staying on top of cheerful patterns of Afro-Brazilian percussion, or conceptual synth pop.

BIS => 2025 06 27
1LP - DISCOS NADA
1989 => 2020

TRACKLIST
1. Instante de Gelo 01:53
2. Dona Roxa 03:22
3. Das Matas 04:53
4. Pantano 09:08
5. Here We Go Again 03:58
6. Carabecht 03:02
7. Terra Batida 03:04
8. Caracol 07:19
9. Pequena Dança (Bonus Track) 01:35
10. Butterflies (Bonus Track) 02:54

DESCRIPTION
Brazilian underground music in the 1980s produced fascinating and mysterious records, where organic and regional percussion finally gained electronic and synthetic nuances. Songs were processed electronically and acted in harmony with drumming and dissonant guitar interventions. This was a too bold recipe to be understood in Brazil at that time, dominated by pop music and the first signs of lambada fever and country music.
Despite being an ideal time for independent production, the music contained in Caracol was so anti-commercial that things seemed to happen in a parallel universe for the duo João de Bruçó and R.H. Jackson.
Caracol is one of the first examples of fusion between Brazilian percussive music and electronics. Synthesizers, samplers and sequencers were still a novelty in Brazil in the 1980s, but João de Bruçó and R.H. Jackson created an avant-garde masterpiece.
Using popular references and an eagerness to escape any retro / stylistic cliché that came to haunt Brazilian youth music at that time, they plunged into an audacious, intuitive and improbable sound journey in Caracol.
João de Bruçó started out as a drummer, playing from jazz to forró. Then he studied Brazilian folklore, worked in circuses and wrote tracks for theater, dance performances and TV. Studying percussion and the relationship between dance and music, he discovered new instruments and possibilities. R.H. Jackson also started out as a drummer and percussionist. He studied cinema, video and electronic composition. He also created soundtracks and researched Brazilian folk dances and candomblé. Jack was already an avid user of several technological innovations and was one of the few in Brazil in the 1980s who dominated computer programming, samplers and sequencers.
Caracol was recorded between 1988 and 1989. João was responsible for the percussion, accordion and a series of objects, such as a copper vase with water, seeds, animal hooves, snorers, springs, bells, marbles and a metal mug, plus piano and a toy clarinet. Jack took care of electronic programming, samplers, sound treatments, synthesizers, subtractions and guitars. Both were in charge of vocals.
This rare adventure of Brazilian music was released independently in 1989, financed by the artists themselves.
The original small pressing sold-out, belonging now to record collectors around the planet. For the first time Caracol is re-released on vinyl, with two extra tracks found after decades!
Remastered from the original tapes, this reissue includes a reproduction of the original graphic art, new testimonies from Alex Antunes (from Akira S. & as Garotas que Erraram), João de Bruçó and RH Jackson and a long article signed by Bento Araujo, author of the book series Lindo Sonho Delirante, which investigates audacious and fearless music created in the Brazilian underground.
“What draws most attention in Caracol is the choice of intuition as a creative and compositional process. Despite the sound and timbristic result being marked by a lot of simplicity, at the same time it oozes multiplicity. The voices, processed electronically, merge with a drumming of surdos, repiniques and the dissonant interventions of a guitar. The vocals are onomatopoeic and modal, like a kind of indigenous tribal ritual. Whoever wants to classify the album will have difficulties. In many moments, the choices and sounds are so primitive, that one could hardly think of it as avant-garde. But those who put pre-concepts aside - and use only their ears and musical sensitivity - will be delighted ”