Suche:mari

Cuba: Music and Revolution: Culture Clash in Havana: Experiments in Latin Music 1975-85 Vol. 2 is the new album compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records) that takes off in exactly the same vein as the much-acclaimed Vol. 1 – exploring the many styles that came out of Cuba in the 1970s as Latin and Salsa mixed with heavy doses of Jazz, Funk, and Disco to create some of the most dancefloor-friendly music ever made!

The album comes as a heavyweight 3xLP and deluxe 2xCD set, complete with extensive sleeve notes, and is jam-packed with heavy bass lines, synth and Wah-Wah guitar funk combined with the heavyweight percussion, powerful brass lines and the all-encompassing Latin rhythms of Cuban music known
throughout the world.

Much of the music on this album is featured in the deluxe large format book ‘Cuba: Music and Revolution: Original Cover Art of Cuban Music: Record Sleeve Designs of Revolutionary Cuba 1959-90’, released by Soul Jazz Books and also compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records),
featuring the music and record designs of Cuba, made in the 30-year period following the Cuban Revolution.

The music on this new album features a host of rarities from legendary Cuban artists such as Los Van Van, alongside Grupo De Experimentación, Farah Maria, Ricardo Eddy Martinez, Juan Pablo Torres, Grupo Sintesis and Orquesta Riverside, most of whose names remain largely unknown outside of Cuba but have long been favourite club tracks and secret-weapons in Gilles Peterson’s record boxes!
The music on this album reflects the most cutting-edge of Cuban groups that were recording in Cuba in the 1970s and 1980s – all searching for a new Cuban identity and new musical forms reflecting both the Afro-Cuban cultural heritage of a nation that gave birth to Latin music and its new position as a socialist state. Most of the music featured on this album has never been heard outside of Cuba.
Both Gilles Peterson and Stuart Baker have been involved in Cuban music for more than two decades – Gilles Peterson with his many Havana Cultura projects for his Brownswood label and Stuart Baker with a number of Soul Jazz Records albums recorded in Cuba. This Soul Jazz Records album is released in conjunction with Egrem, the Cuban state record company, and has been put together after the many crate-digging trips that both compilers have made on the streets of Havana and beyond in Cuba stretching over a 20-year period, searching out rare and elusive original Cuban vinyl records

Yellow Vinyl
The first volume of Back To Mine was released back in 1999 by Nick Warren, designed to showcase a selection of tracks you’d find and be heard playing at the artist's home. Selectors have come in the form of New Order, Pet Shop Boys, Fatboy Slim, and Faithless who all dug deep to find their essential at-home listening.

The latest compilers in the Back To Mine series are none-other than the renowned four-piece, Horse Meat Disco. The horsemen are known for their incredibly fun, deep-diving selections, and this shines through in their Back To Mine compilation in flamboyant style.

Over the course of 16 years of their nightclub tenure, they have become a global brand as pinnacle players of the queer party scene in London and beyond, holding down residencies in New York, Berlin, and Lisbon. Their flamboyant nature and incredibly fun, deep-diving selections have made them one of Disco’s most beloved acts.

Across 15 eclectically brilliant tracks, Horse Meat Disco, which comprises Jim Stanton, James Hillard, Luke Howard, and Severino Panzetta expertly traverse through classic disco cuts, wonky dancefloor groovers, and silky smooth soul.

First album by this duo, known separately for their work in Mouse on Mars
and Gastr del Sol.
 Two long-form pieces, utterly different from one another: one hyper-detailed
electronic music and sound poetry, and the other live-in-the-studio electric
guitar and laptop paint-peeling.
 The exciting first chapter in a long-anticipated collaboration
 David Grubbs and Jan St. Werner met in the mid-1990s when Grubbs was
playing with Gastr del Sol and The Red Krayola and St. Werner in Mouse on
Mars and Microstoria. After years of exchanging ideas, ‘Translation from
Unspecified’ marks their first time locking horns as a duo, and it’s clear this
deck-clearing collaboration was long overdue.
 In January 2020 Grubbs arrived at Mouse on Mars’ Berlin studio Paraverse
with a guitar and ‘Translation from Unspecified’, an open-ended, seemingly
self-generating poem suggesting AI, one of the themes in St. Werner’s recent
work. This became the side-length title track, a winding corridor of electronic
fanfares and spontaneous musical miniatures urging Grubbs’s slow and
steady recitation to grow wings and graduate into song.
 Who knows where this idiosyncratic mise-en-scène - day-glo, extrovert
electronics and task-oriented human - came from? Reference points - distant
ones - might include Robert Ashley and Paul De Marinis’s ‘In Sara, Mencken,
Christ and Beethoven...’ and the sound poetry of Anton Bruhin.
 Flip the record and you have ‘Soixante Ooze’, a live-in-the-studio duo for
guitar and computer more recognizably St. Wernerian and Grubbs-like that
reconfigures elements of the title track before finally morphing into needlepinning monoliths of sound.
 David Grubbs has released fourteen solo albums and appeared on more
than 200 releases. He was a member of the groups Gastr del Sol, Bastro,
and Squirrel Bait and has performed with Tony Conrad, Pauline Oliveros,
Luc Ferrari, Will Oldham, Loren Connors, the Red Krayola, Royal Trux, and
many others. His newest book is ‘Good night the pleasure was ours’ (Duke
University Press, 2022).
 Jan St. Werner is an artist and electronic music composer best known as
one half of the group Mouse on Mars. He has collaborated with Oval’s
Markus Popp as Microstoria and written music for installations and films by
visual artist Rosa Barba. In 2013, St. Werner released ‘Blaze Colour Burn’,
the first of a series of experimental recordings called ‘the Fiepblatter
Catalogue’. Recently his work has prioritized installation and interventions
with spatialized sound, including a number of collaborations under the name
Dynamische Akustische Forschung (DAF).

 “As a human being it’s really important to feel and express
emotions whether happy or sad,” says Hiro Amamiya, the
Teleman drummer whose solo guise is Hiro Ama. “I sometimes
struggle to and so these are a collection of songs that explore
different emotions. I want people to feel something through my
music so I called this EP ‘Animal Emotions’.”
 Amamiya follows up on swiftly on 2020’s field recording-heavy
EP ‘Uncertainty’ with a record made in his bedroom and during
a time of introspection to create something even more personal.
“On ‘Uncertainty’ I was using sounds from everywhere and
whatever sounded good,” he says. “But for ‘Animal Emotions’ I
stuck with fewer instruments so the EP feels much more united.
I also used more acoustic instruments as I sometimes feel
electronic music in general lacks some organic and human
elements so I tried to make this EP as organic as possible.”
 However, buried beneath the warm electronics, gently pulsing
grooves, infectious melodies and immersive soundscapes - that
veer from disco strut to IDM via jazz-laced ambient - you’ll still
find some field recordings. “You might not hear them as
obviously as on my previous EP but field recordings are there,”
he says. “I like them because it's very spontaneous and gives
some human feel. It also adds some air to a recording which I
quite like.” On the opener ‘Free Soul’ - which marries funk bass
with subtle electronics and squelchy grooves - you can hear a
voice sample of a woman from Southeast Asia singing a lullaby.
 “I wanted to make an up-tempo and danceable song so I can
dance in my room during the lockdown. I got lost in Jazz music
the last couple of years and it really changed and opened up
the way I make music.” The moods, tones and emotions on the
EP shift as seamlessly as the genres, never quite settling into
one single place and constantly exploring and expanding into
new musical terrain. A process mirrored by Amamiya’s own
varied influences and tastes that were funnelled into the record,
from film soundtracks to IDM to spiritual jazz such as
‘November Cotton Flower’ by Marion Brown and ‘Harvest’ by
Pharoah Sanders.

Repossessed by the past, bitten once again and forced to relive drama, history, memories, tradition and roots. A past that needs exorcizing, bending and re-imagining in order to move forward and depend on. This is ‘Rimorso’, Mai Mai Mai’s colossal mediterranean gothic album.

Known for his incredible blend of Southern Italian Folklore, industrial drone, proto-techno & punishing miasmic electronic music, Toni Cutrone aka Mai Mai Mai approached ‘Rimorso’ with a clean slate. Following ‘Nel Sud’ (La Tempesta International, 2019) and his mediterranean trilogy ‘Theta’ (Boring Machines, 2013), ‘Δέλτα’ (Delta) (Yerevan Tapes, 2014) and ‘Φ’ (Phi) (Not Not Fun Records / Boring Machines, 2017) the Roma based noise artist recreated his spirits of the past by collaborating with musicians and ethnomusicologists that work on the present, on traditions that are still passed on and morphing continuously, healing our nostalgia for a lost future. ‘Rimorso’ sheds the past heavy use of samples and sound manipulation in lieu of a human element: voices, percussion, lap steel guitar all embedded in a rich cultural heritage.

Gongs have played an integral role in the mythogeography of Asia. This is not music that aligns with national borders or ideas of homogenous populations, let alone racial stereotypes and exotic clichés. What connects all of these tracks is a simultaneous feeling of entrancement and social cohesion. Communal and collaborative, its form is hypnotically repetitious, melodies and rhythms spread out among the players using the technique of hocketing in which a flowing line is distributed among all the musicians. The effect is mesmerising, immediately intoxicating to anybody who loves Chicago footwork, free improvisation, Sun Ra or young hip hop producer Jetsonmade. The music is simple yet mysterious and enveloping, a sound world in which to disappear. A theory exists but this is not explained. - David Toop (extracts from the liner notes)

This project, Massif and Archipelago, is a field recording project initiated by Japanese sound artist Yasuhiro Morinaga, documenting traditional gong music by different Southeast Asian ethnic groups. The project aimed to examine the impact of the natural and social environment on the gong music culture of Southeast Asia. During the project, he visited over 50 different ethnic groups and made hundreds of recordings. This album presents a selection of the unique gong music from different ethnic minorities. The selected music has been divided into two broad sections: one focussing on the music from the Massif, i.e. mainland Southeast Asia (Central Highland of Vietnam and Northeast Cambodia), the other on music from the Archipelago, maritime Southeast Asia (the Luzon Islands of the Philippines, Borneo, Sulawesi, and the Flores Islands of Indonesia).

“Perfect – SAINT ETIENNE meets ‘Moon Safari’-vintage AIR!” (Pete Paphides, MOJO)
For the first time on vinyl, remastered and beautifully packaged: “Looks Like You’ve Already Won” by ASHBY – a critically-acclaimed little masterpiece from 2005.

The pop duo from Boston presents a lushly arranged sound that combines European movie soundtracks, Brazilian bossa nova, post-rock electronica and classic 60s pop. THE SEA & CAKE with female vocals, BROADCAST with a sunnier pop quality.

ITALIAN LIBRARY MUSIC MASTERPIECE!

“L’uomo dagli occhiali a specchio” is a 1975 2-part thriller film directed for Rai Television by Mariano Foglietti, former collaborator of Dario Argento in “Quattro mosche di velluto grigio” (Four flies on grey velvet).

The music composed by Sandro Brugnolini for the occasion are exceptional, and in the 14 tracks of the soundtrack it is possible to find all the typical ingredients of a ’70s score: a sublime fusion of rock, pop, jazz, classical and symphonic music, with urban funk sparkles typical of the blaxploitation genre. Brugnolini's taste and skill in dealing with these different elements are still astounding today, starting from the four versions of the main theme “La notte muore” included in this record.

Originally released on Vroommm Records label by Edizioni Leonardi in an LP that is today extremely rare and precious, this soundtrack is exclusively repressed by Redi Edizioni on clear transparent vinyl for Record Store Day 2022. Not to be missed!

A new 6-track mini album from a musician with a long list of credits including South African trumpet legend Hugh Masekela, afrobeat co-creator Tony Allen and Ethiopian jazz originator Mulatu Astatke as well as many Brit-jazz and international roots artists. "It's Time" blends spiritual Afro-jazz groove with free improv, spoken poetry and other-worldly atmosphere, with lyrics and titles hinting at unorthodox takes on reality and the times we live in.

Phil Dawson is a top London guitarist who has worked and schooled himself extensively in many different African, Latin and Brazilian music traditions together with styles that more typically cross the radar of someone with a similar British background: roots reggae, punk rock, blues, soul, R'n'B, jazz and funk. As a sideman, he's played with a host of living legends of Afro-fusion music including South African jazz trumpet giant Hugh Masekela, Nigerian afrobeat co-creator Tony Allen, Ethiojazz pioneer Mulatu Astatke, the Algerian "king of rai" Khaled, and London based Ghanaian afro-rock dons Osibisa. Heavy company for sure.

Now he's releasing a new mini 6 track album of original compositions under his own name and band - Phil Dawson ٤-tet - and he's joined by a stellar cast of London's finest players who include Rowland Sutherland (flutes - Airto Moreira, David Murray, Carla Bley), Khadijatou Doyneh (spoken word - The Heliocentrics, Danny Keane), Gaspar Sena (drums - Alfa Mist, Maria Chiara Argiro), Marius Rodrigues (drums - Oriole, Hermeto Hermeto Hermeto), Lekan Babalola (percussion - Cassandra Wilson, Ali Farka Toure) and Matheus Nova (bass - Antonio Forcione, Ed Motta, Jazzinho). Phil himself features on guitars, Fender Rhodes and piano.

'This is great' - Gilles Peterson, BBC Radio 6 (on 'It's Time)

'Beautiful' - Kassin (producer Caetano Veloso, Sonzeira etc) (on 'It's

Time')

'Rapid-fire guitar work with variety and energy' – The Guardian, UK

'A great guitarist' – Tony Allen

'An absolute killer - irresistible' - Snowboy (on 'Gnostic Hilife')

'Phil Dawson and his (quintet) are really smoking at the mo. No wonder the London jazz young guns are ripping it up with bands

like this leading the way. Miss them at your peril' – Russ Jones (Future World Funk)

Jazzwise Review

The British guitarist Phil Dawson is a fixture of a plethora of Brit-jazz bands and international roots outfits; his nuanced stylings have graced the work of A-listers from Ethio-jazz guru Mulatu Astatke to such late African greats as Tony Allen and Hugh Masekela. Like any an in-demand session player worth his chops Dawson also fronts his own trio/quartet/quintet, all of which allow him to stretch out and do his own thing, which – with his quintet - he does to pleasing effect here.

Buoyed by flute, bass and percussion, It's Time is a six-track brew combining free improv and spoken word with Afro-spiritual groove and a far-out esotericism befitting these strangest of times. Opener 'It's Time (Radio Edit)' is a psychedelic romp through a beneficent cosmos where ringing chords and woodwind trills underpin Khaditjatou Doyneh's pathos-laden musings on love and the universe and one of three variations on a theme. Over three minutes longer at 9:34, 'It's Time (aka Ougama)' is a freewheeling instrumental made dazzling by Dawson's silver-fingered guitar work; Doyneh resumes her pronouncing on the more dissonant but equally mind expanding 'It's Time (Fully Spoken)'. Then there's 'Gnostic Hilife', whose three interpretations each juxtapose the structures of this West African lingua franca in ways tight, spacious and inventive

Recorded back in 1999, 'Half a Dove in New York, Half a Dove in Buenos Aires' is the recorded debut of a NetCast improv between deep listening pioneer Pauline Oliveros and Argentinian free music trio Reynols >> a fascinating early example of the internet’s capacity to foster remote creativity in-the-moment that deploys the slowest electronics, accordion, voice, trombone and computer sounds on a next level ritual drone incantation recorded in another era, but made for our time.

As the story goes, Oliveros first met Reynols in the mid ‘90s at a Deep Listening workshop she held in their home city, Buenos Aires, where they impressed her with an improvised brass serenade. Years later, in 1999, they met again via NetCast - a series of very early online live improvisations - to explore the Internet’s potential for collaborations between artists thousands of miles apart. Finally mixed down in 2021 and mastered by Helge Sten (aka Deathprod) after marinating in the archive for 22 years, the album resonates with the late, great Oliveros’ legendary work in exploring alternate tunings, spatial dynamics and methods of intuitive performance - a remarkable slab of omnidirectional drone bearing traces of Miguel Tomasin's vox and Oliveros’ just-intoned accordion embedded in its cosmic roil.

Broadcasting from fabled record shop The Thing in NYC, with Oliveros (Accordion) joined by Jennifer McCoy (ICR), Kevin McCoy (Computer processing), and Monique Buzzarté (Trombone), and Reynols revolving Miguel Tomasin (Electronics, subliminal voice & Alclorse drums), Rob Conlazo electronics, leather gloves & e-gtr), and Anla Courtis (electronics, rubber foot & e-gtr) and dialling-in from Florida 943 in Buenos Aires, the results are an incredibly absorbing and consistently surprising testament to vanguard, experimental spirits prizing the internet’s nascent, unprecedented ability to connect minds and art across continents, language barriers, and modalities.

The album's first side, titled 'Micro Macro Wind Dance', puts Oliveros' accordion under a microscope, enhancing it with lower case rumble and noise from Reynolds' arsenal. Shifting glacially over 22-minutes, Oliveros plays subtly and slowly at first, letting the accordion breathe in-and-out like a sleeping mythical beast, before she transitions to fluttering bird-like phrases by the end of the side.

'Astral Netcast Pigeon' expands the dissonant drones to widescreen, submerging Oliveros' trills and drones beneath layers of dirt and grit. It's time-altering music that dissasembles yr head before you've completely worked out what's happening >> basically the perfect mid-point between Oliveros' deep listening practices and Reynols' wildly inspirational free-noise-drone freakouts.

Heavy cumbia guitar rock from 1960s Colombia. Formed in 1961 by the legendary brothers Pedro Jairo and Guillermo Leon Garces, LOS GOLDEN BOYS rose quickly to the top of the Colombian "musica tripical" scene by combining popular rock influences with cumbia, gaita, porro and other local styles. The band recorded several hit singles and albums for the Dsco Fuentes label until the tragic death of brilliant electric guitarist Pedro Jairo in 1972 laid the original LOS GOLDEN BOYS to rest. Cumbia De Juventud is a newly remastered collection of 12 of the heaviest sogs from their golden era!

Well-loved vocal starlets of the drum and bass scene, Riya and Collette Warren have teamed up to create the stunning vocalist lead LP, ‘Two Sides of Everything’. Both originally hailing from Birmingham the women have been friends for more decade, making this a powerfully personal project. This groundbreaking album is the first time two female vocalists have teamed up in the world of 170, and the release enlists some of the scenes best-known producers from all corners of DNB’s eclectic spectrum.

With tracks from seasoned veterans such as Technimatic and Mercury Prize Award Winner Roni Size and leaders of the new school like Whiney and Monrroe and the pair have ensured all musical areas of the scene are represented. Making sure to include some more female talent, the album also includes Kyrist, and vocal support from Sofi Mari and the legendary Tali who was a huge formative influence on this duo growing up. Separately both artists have carved out significant notches within drum and bass, with their vocals on tracks being heard on timeless classics such as the forever beautiful ‘Kismet’ by Hybrid Minds and the haunting ‘One Exception’ with DJ Marky and Tyler Daley.

“God Is A DJ” is the new full-length by Joe T Vannelli, an album the DJ and producer has been working on for years, 13 to be exact, since his latest LP came out. The album features sixteen unreleased tracks and features huge names from all over the musical scene, both italian and international. God Is A DJ is already a cult musical project, that the house music lovers all around the world have been waiting for for years.

The two LPs take the listener through a musical journey mixing different sounds and styles: the first four tracks on Side A lean towards a melodic house sound, the very same genre that JTV took to the top of the game with his “Live On Tour” series of streaming – 62 streamed gigs from different places in Italy, from April 2020 throughout the pandemic. Fifteen million views with a valuable representation of the italian territory.

Amongst the tracks on Side A, the 2022 remix of “Voice In Harmony”, one of JTV's biggest hits, and the long-awaited new version of “Children”, by Robert Miles, which was taken to the top of the charts by the same Joe T Vannelli in 1996.

Side B features collaborative works with some italian producers fresh off the top of international house charts: Moreno Pezzolato for “Doctor House” and “Paradise” remixed by Federico Scavo e Cassimm, licensed worldwide by Happy Music and Kontor Records.

Side C opens with the Angelo Ferreri remix of “Where Is My Man”, #1 on Traxsource, then moves on to two big featured artists: the first one is Saturnino. His bass is perfect, on this 70s funky style piece which echoes the biggest and boldest productions of music history. The second one is the remix of “Paradise” by Mario Biondi, made by JTV
himself who gives the track a soul/funky mood and an international sound inspired by Alicia Myers, who already worked as a muse for “Thank You” by Busta Rhymes. A song like “Sacrifice” by The Weeknd works along the same lines.

Side D, instead, is pure, distilled Vannelli-sound: house music for house music lovers, led by the afro-house beat by Silvano del Gado for “Booma Beat” and followed by the “Harlem” remix by Angelo Ferreri, and “Across The Universe” reinvented by the young producer from Veneto Reboq. The album closes with “Shavasana”, a meditative yoga number inspiring total relaxation.

HIGHLIGHTS: 1967 descargas album by Peruvian percussionist Coco Lagos y Sus Orates, featuring Alfredo Linares, Charlie Palomares, Otto de Rojas, Mario Allison_ This album was recorded following the success of the descarga sessions released by New York label Alegre Records. It includes a version of Cal Tjader's 'Mamblues' and 'Brava pachanga', an original by the Father of Boogaloo, Joe Cuba, among many other stand-out tracks. Quality official reissue on 180g vinyl after years unavailable. Includes insert with liner notes. Details: 1966 was a prolific year for the MAG record label. The microphones were constantly on at the label's studios, recording timeless hits by Los Demonios de Corocochay, Betico Salas, Cholo Berrocal, Mario Allison, Alfredo Linares, Carlos Muñoz and Los Pacharacos, just to mention the most successful ones. The percussion playing by 29-year-old Peruvian Coco Lagos stands out on a number of these recordings. Coco continued his early career, and he played the conga drums for artists who passed through Lima, accompanying Pérez Prado, Oréfiche and Chano Scotty, among others. In the late 50s, he started working as a regular musician in the recently founded record company MAG, alongside musicians such as Ñiko Estrada, Mario Allison, Lucho Macedo...

Polarity, the first album from percussionist and multi-instrumentalist James Larter is a cross-genre Psychedelic journey with driving rhythms at its core.

Larter has always been obsessed with rhythm; whether it be the roaring sound of Brazilian Samba or the intricate and hypnotic drums from the African diaspora, music that makes people move is a passion. He is an in demand musician that has played with a staggering variety of groups and artists

from Sampha to the London Philharmonic Orchestra.

Hailing from the UK and studying in London and New York, his soundscape crosses genres and styles all with a psychedelic twist. Marimba and vibraphone feature heavily with echoes of electronic music played out by an all-star accompanying 10 piece band.

Pachakuti is a musician and producer with family roots in Colombia. He plays keys, tenor saxophone and clarinet. While living and working in Berlin, he draws inspiration from the natural world, investigative travels, and ancestral traditions of Latin America and beyond. His expressive and rhythmical playing and his instantaneous compositions are directed at the human core, arousing subtle experiences. While not being conformed to one style, it always invokes a sense of liveliness and depth to be delved in. young.vishnu is a producer and DJ. He has studied philosophy and music in Hildesheim, Germany, which heavily influenced his views on meaning and mythology in music. In his DJ sets he selects and plays classic and contemporary Funk, Soul and Afrobeat. His practice as a DJ informs his work behind the boards directly, adding also more organic grooves and broader spectrum of musical styles to his in Hip-Hop based production. If you had to put one single tag on their forthcoming album Dédalo, the best choice would be Jazz. That being said, Pachakuti and young.vishnu's sound worlds might be better described in their own words: "We just make music and try to incorporate what we love about it". They are musical freethinkers with shared interests in eastern philosophy and botany who interweave Hip-Hop, Latin and Funk with musical storytelling and world mythology. Undoubtedly, their most ambitious work to date, Dédalo (Spanish synonym for labyrinth), recorded and produced over the course of a year, shows Pachakuti & young.vishnu's ambitions and growth. Where their debut work Semilla (2020) centered around the image of the seed, Dédalo takes on the entire garden. Besides playing multiple instruments by themselves, Pachakuti & young.vishnu invited a growing group of befriended musicians into the studio, including percussionist maestro Eric Owusu (Pat Thomas, Ebo Taylor, Jembaa Groove) and drummer Leon Raum (Bokoya, Wyl), as well as Brazilian newcomer vocalist Laíz, and members of their former band project Soularkestra. The 16 recorded songs, ranging from 1:19 to 14:58 minutes, take you on an emotionally honest, metaphoric journey through the maze of human existence, of modern society and mythic poetry. The mostly instrumental tracks build on expressive melodies, layered rhythms, and a wide range of musical instruments, merging the sounds of Jazz with the classical word of orchestras and choirs, and urban soundscapes with traditional instruments such as the Andean Kena and Charango, the Colombian Gaita and Marimba de Chonta, and an Indian harmonium. The Album thus weaves together past and future, and diverse cultural threads, sounds and ideas in an act of cultural appreciation and global conscience. Mixed and mastered by Roe Beardie at The Brewery Studios, Berlin. The album artwork itself merges the visionary art of Mexican painter Sergio Chávez Hollar with an original artwork-inlay of Brazilian artist Laíz and the work of Carsten Pölking of the Nima Compositions Archive.

Dédalo will be available digitally and on double-vinyl with inside-out print cover and colored inlay with credits and painting by Laís De Mello Barbero.

French finest synth-pop band Bon Voyage Organisation release his second opus after a feature on Cocktail d'Amore 10 Years compilation.

"La Course" is a cinematic, synthesized and library-esque journey that could be a mixed-up between Italian early 80's productions and french 00's disco.

"This record marks the beginning of a new attitude towards recording," says Bon Voyage Organisation's Adrien Durand. "Switching from a busy studio that I shared to having my own very quiet cabin in the North West of Paris has inspired me to adopt a more meditative approach."

Whilst it's fair to say Durand has been constantly on the move for some time - be it touring or producing records for the likes of Amadou & Mariam, Papooz and Bagarre - there's a sense of new momentum, as well as stillness, that hangs over this record. One that's fully instrumental and as he describes being more free.

The band's trademark glistening production, disco flair, shimmering electronics and incandescent melodies still remain but a more intuitive and striped back approach was favoured this time around. Some of this attitude stemming from an evening opening for Kamasi Washington. "Because of the constraints of being an opening act we played as an instrumental quintet instead of our usual 9-piece band," says Durand. "We rehearsed the day before, our set opened with John Coltrane's 'Naïma' followed by a hard-bop ish version of Kraftwerk's 'Trans Europe Express'. It felt so good to perform that repertoire in that configuration that I had the vision of bringing this aspect of the band in the studio."

There was also a removed sense of pressure with this record - no major label expectation of a radio friendly record, combined with a deconstructed approach to songwriting. "Since 2014 I've been working mostly on projects involving a lot of conventional songwriting," Durand says. "I was keen on producing a record based on performance and atmospheres more than repertoire." He also sought inspiration from a perhaps unlikely source: The Arctic Monkeys. "I was really encouraged by them going out of their comfort zone on their last album - it really caught my attention in a Bowie / Berlin period way."

The result of the album is one that oozes the natural momentum of experimentation, texture, mood and intuition while managing to retain a sonic coherence. In a none-obvious and zeitgeist clichéd way, there is perhaps a more jazz-leaning approach to the record that weaves between soft subtle moments to the more atonal and experimental, all underpinned by sweeping, engulfing soundscapes and the usual touch of non-Western musical flourishes. This vibe came from a distinct lack of editing, says Durand. "In the studio we had everyone sitting in the same room - sometimes up to 6 players - and I never edited the playing. I just went on to record some additional synth and percussion, insert the soundscapes, and mix the record."

This less is more approach, avoiding indulgence and superfluousness, is something Durand can't help but feel is an artistic response to the pace of modern life. "There is a frenetic approach to everything," he says. "People want to binge on everything, expect ultra fast changes on any political cause etc. The response is a big comeback of things like the practice of meditation, yoga and ambient music." There are times when this record falls into the territory of meditative ambience, as on the immersive plunge one takes swimming through the beautiful 'Un Am Ricain En Danger'. It's an album to bathe in and to be carried along by, it's gripping by being so rather than fighting for your attention

Ultimately the record is one that feels it's been allowed room to breath, a sonic sphere in which musicians have been allowed to roam as freely and thoughtfully as the listener. "This record is about welcoming the music and being able to let each musician express themselves during the recording process," says Durand. "This is a valuable trade that takes time."

Ltd to 100 copies

Presented in a double vinyl gatefold edition with two beautiful paintings by Tenerife painter Sema Castro.

For fans of Sun Ra, Alice Coltrane and every single mystic brother and sister carrying the free spiritual jazz torch! Dive DEEP!

Spectacular mystical jazz infused psychedelics from Canary Islands’ cult band GAF.

Using a series of different add-ons to their (already obscure) band acronym GAF (Grifa Ambient Factory) such as Love Supreme Arkestra or GAF & La Estrela de la Muerte amongst a few, the Tenerife based band illustrate clearly what mutation or influence they’re feeding through (their mind) by the judicious use of these referential add-ons. Rotating around the vision of local lynchpin, Mladen Kurajica aka Bonni, Keroxen label head, festival organizer, producer and musician with numerous projects including helming the GAF outfit. The Love Supreme Arkestra variation here being the more Coltrane leaning (Alice rather than John) and Sun Ra- esque influenced thematic of the 6 piece band. Over a series of 7 huge sounding themes, we can hear twirling saxophones, trumpets, marimbas, modulars and rhythmic sections intertwining like flying spiral snakes over a burning sea of lava.

Recorded live and freely over a completely improvised jam session on a sunny afternoon in the mountainous region of La Esperanza in Tenerife, the band lets rip free of any previous albums particular sound choosing instead to purge into a world of musical liberation by embracing the aforementioned pioneers of the genre whilst unconsciously absorbing in their surroundings - as an additional inspiration for musical freedom.

The result really shines through its 74 mins of mind blowing adventurous music. A journey to the peaks of the Teide Volcano and down the green valleys, into the blue and black volcanic coasts of liberation!

Anybody who has witnessed a live performance of Anna von Hausswolff and band can attest to the extraordinary and commanding nature of the experience. The distinctive music, as captured across five full-length albums, comes to life, shifting from hypnotic and mantra-like moods to thunderous drama, dissonance and cacophony. The musicians master playful dynamics and wield immense power.

Across six pieces, Anna von Hausswolff performs sensational renditions of fan-favourites from the two beloved albums; The Miraculous and Dead Magic, with the backing of a full band including additional vocals from her sister / cinematographer Maria von Hausswolff