Titicacaman Records is an extension of Titicacaman Studio, a means to release to a wider audience the music being created within those walls. Planted in an area of planet Earth that is somehow greatly conducive to creativity (Cardiff by the Sea, California) the label's fast growing catalog includes: Me Me the Moth; Nice World & Nicey Nice World; Son of Radul; The Playground Slap; Gunther's Grass; The Assholes and last but not least various albums by Marcelo Radulovich.

Thanks for visiting and please feel free to get in touch if you have any questions. Lots of music slated to be released so check back again soon.

CONTACT : Curator EMAIL | PHONE: 760.944.3321




A L B U M S | 01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09 | 10 | 11 | 12 | 13 | 14 | 15 |

albums


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Use Bleach
by Son of Radul
(2004-2014, remixed 2014)
Titicacaman Records CAT#15

Sit and nurse the tiny sounds, feed them soul and they grow. Use Bleach is a collection of sound art pieces by Marcelo Radulovich under the moniker Son of Radul.

B U Y at : amazon.com | iTunes | CD Baby


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Nohayquepreocuparsepornada
by Marcelo Radulovich
(2004-2013, remixed 2013)
Titicacaman Records CAT#14

Nohayquepreocuparsepornada is a collection of original songs by Marcelo Radulovich deeply rooted in the much treaded soil of rock’n’roll. Rock, yes, but of the 21st century kind, heavily influenced by a deft use of samples, mangled keyboards, field recordings, toy instruments and lush production. Recorded at Titicacaman Studio in Cardiff, CA, between 2004 and 2013, Nohayquepreocuparsepornada features the great talents of Enrique "Bugs" Gonzalez (Los Lobos, Jumbo, Plastilina Mosh) on drums and Marcelo on all other instruments and voices.

The music is vibrant and creative, a healthy blend of many genres and styles, the result of percolated years of slow grinding. The songs come across as offerings to the great gods of rock'n'roll, to the deities, the muses of art, to the surreal poetry of latin america, to strobe lights in a disco, to seeing the glass as half full, to an existential approach to ascension... little offerings of funky love pie baked by latinos. The album rolls on through 13 tunes, 7 in english, 4 in spanish and 2 instrumentals. Driving music, rich and colorful, a little dissonant at times, a tarty sweet at others, a strong pulse and drumming galore always present. Word plays in lyrics add a lack of coherence, stories told through symbolism, gibberish and myth... some manic dude yelling at you in spanish, you don't have to worry about anything, while he himself frets and bangs thrift store instruments in a small bathroom. Across the street, a blind beggar with a noisy speaker outside a church in San Jose, Costa Rica, wah wah leads, I am the good shepherd who tends to your daily needs, and we all wonder, what would come from a rat having intercourse with a snake? Mas Alla time stands still, speeds up and reverses, we are glad gluttons, and glad of it! Trying to make Fred rise through the sad wails of a lapsteel, lunching intricate, sultry salads en el pueblo, talking about how deep runs the water as it enters the throat, delivered by the queen. Now calling volunteers, calling citizens who took out machine while adding flux at the end of the day, all yell Nohayquepreocuparsepornada!

Production Notes
I initially pieced Nohayquepreocuparsepornada together with drum machines, recorded one instrument at a time, putting my years as a multi-instrumentalist to test, having fun. I wanted to make a rock record, I wanted it to sound as if a band was playing the music in the same room, at the same time, to an audience... the challenge was, how to do that while sitting in front of a computer by myself with a bunch of instruments around me and headphones on. In 2006, after a couple of years of working the tunes, writing and recording in my home studio, I sent a copy of a rough mix of the album to my friend and old band mate in Merry Go Down (rock band in San Diego in the late 80's - early 90's) Frank Gaeta, to get his take on it... what is missing, what needs to change, the obvious thing to me was: dump the drum machine, these songs need a live drummer. Frank was enthusiastic about the tunes and agreed about the need for drums. In comes Bugs. Frank heard from a friend about a new drummer in town (LA), freshly arrived from Mexico, ready to play... gotta check him out! Frank called me up, told me Bugs would be playing at a bar and that I should go meet him, so I drove to LA and we went to see Bugs play. I was very impressed, more by him than the band he was playing with, and as I watched him play I had no doubt he could do a great job on Nohayquepreocuparsepornada. We talked, I sent him the tunes, he liked them, learned them, then he and Frank came down to my studio and we laid down some tracks. I loved it! He nailed the parts and added a great deal of his personality, he shot adrenaline into the tunes, the drum machine tracks I had spent hours on programming could be put to rest.

Bugs laid down some fantastic drumming, which changed the whole nature of the music for the better, but, it became a new animal. Several instruments had to be re-recorded, a few songs had to be re-interpreted to match the energy and feel of the live drums... the album went through growing pains. I had already spent so much time on it, was so close to it, I could not bring myself to really finish it, I needed to flush it out of my system in order to finish it, so I did. I put it aside and worked on a bunch of new music for the following 6 years. I kept it in mind though, the thought of it coiling up like a serpent ready to eat, all I needed was a chunk of time, like the month of December of 2013. Long story short, Titicacaman Records and myself are proud to present Nohayquepreocuparsepornada!

B U Y at : amazon.com | iTunes | CD Baby



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Mercurio
by Marcelo Radulovich
(2004-2007, remixed 2013)
Titicacaman Records CAT#13

Mercurio is an intriguing display of an artist's ever-growing musical vocabulary, a further crossbreed of styles and instrumentation, recorded and produced at Titicacaman Studio in Cardiff, CA between 2004 and 2007, re-mixed in 2013. In Mercurio, Marcelo plays all the instruments and sings all the vocals, focusing on creating a work that is deeply personal and singular, with lyrics that deal with the socio-political issues of always, family bonds and home, the omnipotent and the mangled stuff of the psyche.

These are raw, emotive songs, some in English, some in Spanish, one in a made-up language, the uniquely intriguing Sate Sane. The music is dense and very colorful, rich with samples and textures interacting with an array of acoustic and electric instruments, moving in and out of time signatures in an improvisational fashion. The result is a sort of organized, microtonal, twisted, filtered, electro-acoustic messy soulful brew, concocted at the crossroads of experimental and pop.

B U Y at : amazon.com | iTunes | CD Baby



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Index
by Marcelo Radulovich
(2003-2013)
Titicacaman Records CAT#12

3 20+ minute compositions originally recorded in 2003, remixed and released 10 years later. Stories through sound... drones in pursuit of some kind of ZEN state. Sound collage, phonography, ambient... dark/bright moods, the three pieces come across as a sonic triptych.

Index is kin to (case of the missing) Thumb, released by Accretions Records in 2002, it displays Marcelo's continued fascination with sound collaging, sampling and electronic manipulation. This is music to close your eyes and make up words to, rich, moody, and sometimes prickly winter lulls for insomniacs.

B U Y at : amazon.com | iTunes | CD Baby



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The Weirding Valley
by Me Me the Moth
(2008-2013)
Titicacaman Records CAT#11

The Weirding Valley is two voices constantly nudging each other from dark abstraction into wicked humor. Made in America with roots in Chile and England, The Weirding Valley is pop/weird/indie./folk/rock/avant-garde, cross cultural and symmetrically placed to delight and confuse the discerning listener.

Marcelo Radulovich and Neil Carlill formed Me Me the Moth in 2008. Living on opposite coasts of the United States necessitated a long distance strategy to writing and recording their debut album. Over the next few years the album was put together amid separate recording sessions epic file sharing and occasional get togethers for drinks, food and rehearsals.

Neil Carlill: voice, various instruments
Marcelo Radulovich: voice, various instruments

The Weirding Valley was produced by Marcelo. It features 16 songs constructed via the internet. With Neil in Salem, MA, and Marcelo in Cardiff, CA, the process involved exchanging sound files, which were then pieced together at Radulovich's home studio. Cover design, artwork and logo by Marcelo.

The Weirding Valley is dedicated to Jamal River aka King Toad

B U Y at : amazon.com | iTunes | CD Baby



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Disco Nausea
by The Playground Slap
(1982-2013)
Titicacaman Records CAT#10

In its 6 year span Playground Slap concocted a strange groove, a Jamulian brew of peculiar funk. Rock with many nods to psychedelia, rap and jazz, with sprinkles of country and latin sway, brooding songs with catchy sounds aloft a swingingly stiff, often atonal mess of introspection and parody. The Sartre-riddled kids played some arty shit, and possessed an uncanny ability to drop their pants in unison at the flick of a light switch. Forged and sloppily polished in a secretive compound in Jamul (the DeZonia bunker, a.k.a. Jamul A-Go-Go), these intrepid self-taught new funking wave brothers, delivered a unique version of romanticismic bounce to eager, strained ears in the San Diego area. During their tenure, 1982 to 1988, they shared the stage with bands like Midnight Oil, Fishbone, Ministry, Camper Van Beethoven, Adrian Belew's The Bears and many others. Feeling the need to pursue other interests the Slap boys parted ways in 1988.

Moving on to 2005-2007, Marcelo contacted David and the old mates set to record a bunch of the old Slap tunes at Titicacaman Studio. Original members Ray and Spike were invited to join the fray, and new blood came into play with the talents of Bill Ray on drums and old Slap friend Mike Keneally on guitar and keyboards. Disco Nausea is compiled from a series of recording sessions at Titicacaman Studio 2006-2007 as well as numerous cassette recordings from the 1980's. Recorded/produced by Marcelo Radulovich.

Read a review of this exquisite album, published by San Diego Troubadour, here: Disco Nausea

Michael Addis: drums on tracks 1, 4, 13 & 17; vocals on tracks 1, 8, 9 & 17
Ray DeZonia: keyboards on tracks 1, 2, 3, 4, 7, 8, 9, 10, 11, 13, 14, 16 & 17; vocals on tracks 1, 2, 3, 7, 8, 9, 10, 13, 14, 16 & 17
Mike Keneally: guitar on tracks 1, 3, 7, 10, 11, 16; piano on track 4; clavs on track 6
Marcelo Radulovich: vocals, guitar, percussion on all tracks; melodica on track 1; keyboards on tracks 5, 6, 12, 15 & 17; drums on track 8
Bill Ray: drums on tracks 2, 3, 5, 6, 7, 9, 10, 11, 12, 14 & 16
David Ybarra: bass on all tracks; vocals on tracks 1, 2, 3, 7, 8, 9, 10, 12, 13, 15, 16 & 17; lapsteel on track 4; samples on track 8

B U Y at : amazon.com | iTunes | CD Baby



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Teenagers in Love
by Nice World
(2013)
Titicacaman Records CAT#09

Explore the psychological implications of sound. Find tones to scratch itches as yet unscratched. Look for the aural elixir. Find resonance that will stimulate the hypothalamus… like chocolate, like opium, like love. Research the parameters of analgesic sound — a cure for headache, a wake sleep inducer. If there is anything lovely, praiseworthy, or of good report, we seek after these things.

Compiled from a series of improvisation sessions at Titicacaman Studio 2012-2013. Recorded/produced by Marcelo Radulovich.

Jim Call: theremin, organ
Joey Carano: guitar on tracks 4 and 7
Marcelo Radulovich: voice, electronics, guitar
Bill Ray: drums
Joyce Rooks: cello
Henry Wessman: bass on tracks 3, 6 and 8

B U Y at : bandcamp


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Vertigo at Lunchtime
by Marcelo Radulovich
(2008-2013)
Titicacaman Records CAT#08

"Marcelo Radulovich is an auteur. On his latest album Vertigo at Lunchtime, and like it's very immediate predecessor Mercurio, all the sounds, words, ideas, songs, artwork and production come from the same source. Mercurio and Vertigo feel connected in a fraternal way, perhaps Mercurio represents evening into night and Vertigo at Lunchtime springs into life at dawn and takes us through the daylight hours. The opening track (and album title) is every inch the driving song with the listener emerging into a bright new morning full of twisting possibilities. ( "everything is A Ok cos' something good always turns up"). The mood is upbeat, positive, the melodies are delirious and catchy but we are being taken on this jaunt with an eye on the undertow, the underground tributaries where a good time can be thoughtful, introspective and surreal.

We are carried along on groves (waves on a beat) and the stories and incantations come through in Spanish and English, an international music full of emotional dictation and subtle observation that provides a chronicle of life and it's layers. we experience school thoughts (a nostalgia) , food, a life lived by the sea by the desert by the city in the wilderness...

"Manicomio Que Comio" has a driving metallic rhythm and a melody line that is whistling catchy. Marcelo's vocal intones in Spanish the virtues of Bob Dylan and Hank Williams. We are led into private fascinations during "Why" the surreal science of Elvis Presley myth in "Elvis Pelvis".

We visit some twisting roads where the automobile must slow down and enter the shade, "Globo Globito" and "En le Plaza" give us a howl in a study of vocal harmonies, it's a meditation and turns the spell into Fall colors. Before long we are back on to the clear nursery rhymes of Replacement, chimes sing and the music rolls along wave after wave , a bouncing tripping groove laden melting pot of styles and loving rhythms.

I want to mention the burlesque, the cheerleaders chant in "for my school", a soaring vocal performance that gives each song it's lofty elevation. How about peddling, a virulent vaccine, diamond overalls, llolipop crack and 20 doses of that.

The album resists the distant lamplights itchy glow as the day wanes!.

I believe this album is so absurdly accessible, so humbly articulate, so ridiculously moving and catchy, it has the stature of a Pynchon novel or the finest Vonnegut."
Neil Carlill (Delicatessen, Lodger, Vedette, Me Me the Moth)

B U Y at : amazon.com | iTunes | CD Baby



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Never in the Future that Dawned Earlier On
by Gunther's Grass
(2005-2012)
Titicacaman Records CAT#07

Gunther's Grass began in 2005 as a collaboration between Marcelo Radulovich and Christopher Adler, to bring together two ancient drone-based instruments from across the world, the medieval European hurdy-gurdy and the Lao/Northeast Thai mouth organ khaen. Both instruments present the idiosyncracies of their respective traditions and the instabilities of delicate acoustic instruments. Through the lens of contemporary improvisation, Gunther's Grass explores these traditions and the tension between the precision of tuning characteristic of drone-based music and the instability of the real instruments in their environment.

Christopher Adler: khaen (Lao/Northeast Thai mouth organ)
Marcelo Radulovich: hurdy-gurdy
Scott Walton: bass (tracks 1, 4 & 6)
Charles Curtis: cello (tracks 3 & 5)
Marcos Fernandes: tamboura box (track 4)

B U Y at : amazon.com | iTunes | CD Baby



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La Mano Ponderosa
by Marcelo Radulovich
(2012)
Titicacaman Records CAT#06

La Mano Ponderosa is Marcelo's 13th solo album, 10 tell-tale songs that keep growing like a chia pet with each listen, as beats, melodies, and surreal tropical imagery puffs like smoke, as hooks and a myriad of musical styles flutter the speakers, as nuances and details come twirling into the earhole, suggesting a repeat listen and another Cuba Libre.

The experiment was: use only an iPod and its apps to play every track. Layers! Words, voice, 8 songs in spanish, 2 in english. There's depth, and hooks, lots of details, strange and unique... songs to play while driving with the top down on a clear night.

B U Y at : amazon.com | iTunes | CD Baby



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Johnny and the Big Prairie Fire
by The Assholes
(1979-2012)
Titicacaman Records CAT#05

"Imagine finding a box of childhood things in the attic, all dusty and forlorn. Then discovering that, despite your intention to sift through everything expecting to find nothing which shouldn't be thrown out, every item is a rediscovered treasure, and all you have to throw out is the years between their sentence to 'The Box' and their liberation to a second life. That's what this feels like - in more ways than one....."
Antony Burnham (Metamorphic Journeyman)

Marcelo Radulovich: various instruments
Joel Smith: various instruments
Chris Stephens: various instruments
Christian Sondergard: various instruments

B U Y at : amazon.com | iTunes | CD Baby



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Nicey Nice World
by Nicey Nice World
(2011)
Titicacaman Records CAT#04

Egad! These many months we have labored, a frolicsome labor to be sure, but, now it is ready. Nicey Nice World presents an album of songs, a goodly collection of polite tunes... genteel, but without treacle. We hold the door open and roll out a red carpet to a nicey nice world, a couth and mannerly world, in which is nonetheless witnessed the awesome destructive power of the super magic fire and is playfully populated by such otherly characters as Dracula, Marcel Duchamp, the Wiggins Sisters... and we three.

We offer delectations delineated with cello and theremin, organ and voice, improbable electrics, toys and iPhone® apps, humbly hoping to amuse you and induce you to slip with us for a few moments into a forest of forgetfulness, well past grandmother's house, as we sport with noise in antic flirtation. Welcome to Nicey Nice World.

Joyce Rooks: cello, voice
Jim Call: theremin, organ, blocks
Marcelo Radulovich: voice, electronics, ipod

B U Y at : amazon.com | iTunes | CD Baby


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Legends & Robots
by Marcelo Radulovich
(2011)
Titicacaman Records CAT#03

Tiny, fiery fairies in forests tangling garlic vines, legendary musician robots gather to entertain a crowd dressed in bright hues, consumers one and all. Lights flutter as projections of falcons plummeting race by, banners read TONIGHT WE CHALLENGE. Each attendant receives a bunny book at the entrance, a program adorned with erotic imagery depicting Alaskan drama, mating swimming clam diggers, lifesavers, sporting t-shirts reading Paris A Fortunate! Page 2 explains the goal, and why the underground....

B U Y at : amazon | iTunes | CD Baby


Physical copies available only through us.
Click the BUY NOW Paypal button to order yours!
$10 (U.S.A. dollars) includes shipping & handling



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Summer in Winter
by Marcelo Radulovich
(2008-2013)
Titicacaman Records CAT#02

Blocks of centuries frozen, clowns in smoky bars, a skinny kid and cantankerous Chuck at the senator's ball, green bears on soda cans and frolicking nuns of a new convent, such is the lyric stream in Marcelo's album titled Summer in Winter, 12 songs about a feverish, blundering time, full of anticipation and expectations.

Produced and recorded at his home studio between October and December of 2008, at the peak of the USA presidential elections, Summer in Winter picks up where Vertigo at Lunchtime (produced earlier in 2008) left off. The feel again points up, the mood is warm, the songs are short, rhythmic, melodious and lyrically vibrant. As common to Marcelo's production approach, he sings all the vocal parts and plays all the instruments, referencing years of experimenting with sound, soul, rock, ambient, crackling vinyl.... Summer in Winter is filled with creative ideas and entrancing sounds, a very original music that reaches out with positive vibes and multi-cultural painterly jangle.

B U Y at : amazon | iTunes | CD Baby



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Dear Annex
by Marcelo Radulovich
(2009-2013)
Titicacaman Records CAT#01

Dear Annex is Marcelo's 11th solo album, originally recorded in 2009 - 2010. 10 sunny songs + one sprightly remix, bright and deep, in melody and form, covering a wide range of styles and tone. Dear Annex is a musical trip to a land where dada funk and brooding bubble gum chew in rhythm to dance-a-la-dense mixes, as poetry flexes and horns blare, setting a mood surreal yet satisfyingly familiar: pop, funk and rock sensibilities at the root.

Mr. Radulovich, working at Titicacaman Studio, acts as writer, multi-instrumentalist, producer and engineer. The album also features wonderful contributions by talented collaborators: 5 of the 10 songs in Dear Annex feature lyrics by Neil Carlill (Delicatessen, Chicanery and Marcelo's partner in Me Me the Moth); 3 tracks feature guitar and piano by Mike Keneally (Zappa, Dethklok); trumpet, percussion and vocals by Chris Conner (Channing Cope, Bantam Feather); trombone samples by Michael Dessen (Cosmologic); theremin by Jim Call (The Penetrators, Zirk Ubu and Marcelo's band mate in Nicey Nice World); turntables by DJ Tenshun and a couple of appearances by Bill Ray on drums, another one of Marcelo's Nice World mates.

B U Y at : amazon | iTunes | CD Baby



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