Battle Cry Magazine

Malegría, Reyna Tropical’s long-anticipated debut full-length album, is at once a vibrant arrival and an electrifying bridge. The portmanteau, born from a 1998 Manu Chao song by the same name, is akin to bittersweet and blends the Spanish “mal” which means “bad" and “alegría” which means “happiness.” It marks Reyna Tropical’s movement from a duo to a solo project. The album is a contemporary celebration and continuation of wide-reaching cultural traditions—from Congolese, Peruvian, and Colombian rhythms to revolutionary artists like lesbian guitarist-singer Chavela Vargas—these influences meld and are remixed through the distinctive lens of trailblazing guitarist and songwriter Fabi Reyna. Traversing themes including queer love, feminine sensuality, and the transformative power of intentional relations to the earth, Malegría spotlights narratives often pushed to the margins and offers them a sonic homeland.

Amazing modern jazz from the estate of composer, arranger and baritone saxophonist Helmut Brandt, recorded March 1963 at Haus des Rundfunks in West Berlin – featuring Benny Bailey, Herb Geller, Nat Peck and Ack van Rooyen. One-off concert of mostly unknown Brandt compositions played by eleven soloists from the Berlin radio orchestras of RIAS and SFB, including “Boogie Waltz”, “Opus C-Moll 794”, “Ferien-Suite” in six movements plus Jerry van Rooyen`s lost tunes “Trifi” and “Stellar”. Forgotten work by one of the key figures of cool and modern jazz in Germany, carefully restored and remastered for limited vinyl LP and 6-page-digipack CD/ digital album with two additional tracks.

From the beginnings till 1985 - The band Les Sauterelles stood for the decade of the 60ties, when Switzerland's youth was shaken by the rock'n'roll fever.When in summer 1968 Les Sauterelles ruled the Swiss charts with their hit “Heavenly Club”, this success marked both their climax and end. Often referred as the “Swiss Beatles”, Les Sauterelles had been the undisputed kings of the scene for years. It was their resounding success that caused their downfall in the same year – a pattern that would repeat itself on and on throughout the history of pop and rock music in Switzerland. Differences over the direction in which their music was going and the sobering reality of their daily professional routine had led the group to an impasse. Their breakup heralded a similar fate for most other Swiss “beat bands” who had for years been cruising along in the slipstream of their Anglo-American models, albeit with varying degrees of success.

From the beginnings till 1985 - The band Les Sauterelles stood for the decade of the 60ties, when Switzerland's youth was shaken by the rock'n'roll fever.When in summer 1968 Les Sauterelles ruled the Swiss charts with their hit “Heavenly Club”, this success marked both their climax and end. Often referred as the “Swiss Beatles”, Les Sauterelles had been the undisputed kings of the scene for years. It was their resounding success that caused their downfall in the same year – a pattern that would repeat itself on and on throughout the history of pop and rock music in Switzerland. Differences over the direction in which their music was going and the sobering reality of their daily professional routine had led the group to an impasse. Their breakup heralded a similar fate for most other Swiss “beat bands” who had for years been cruising along in the slipstream of their Anglo-American models, albeit with varying degrees of success.

From the beginnings till 1985 - The band Les Sauterelles stood for the decade of the 60ties, when Switzerland's youth was shaken by the rock'n'roll fever.When in summer 1968 Les Sauterelles ruled the Swiss charts with their hit “Heavenly Club”, this success marked both their climax and end. Often referred as the “Swiss Beatles”, Les Sauterelles had been the undisputed kings of the scene for years. It was their resounding success that caused their downfall in the same year – a pattern that would repeat itself on and on throughout the history of pop and rock music in Switzerland. Differences over the direction in which their music was going and the sobering reality of their daily professional routine had led the group to an impasse. Their breakup heralded a similar fate for most other Swiss “beat bands” who had for years been cruising along in the slipstream of their Anglo-American models, albeit with varying degrees of success.

“DECCA has used the most recent digital and Cedar technology to improve the original sound, under the overall supervision of veteran technician James Lock. This is one of the great performances of recording history.” Over half a century has passed since this classic DECCA recording was made in Kingsway Hall, London in January 1963. While the performance remains a benchmark, time has left the original analogue master tapes more fragile than ever.