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Originally released following his acclaimed sophomore album, HYBRIDISM finds Ecuadorian producer Nicola Cruz at the height of his exploratory powers. Now reissued on limited editon green vinyl, this expansive EP re-emerges with renewed relevance—blending North African rhythms, ethereal Persian motifs, and vocal fragments that evoke both ancient traditions and imagined worlds. A contemporary take on global exotica, HYBRIDISM is a vital entry in Cruz’s ever-evolving sonic journey.

'Aima’, named after the refrain sung by Igbo girls from Nigeria, creates the illusion that you’ve dusted off a lost LP. The aesthetic details recall expertly produced French exotica from the 70s, an overall feeling of warmth and character rarely pulled off with such panache.

‘Naeku,' in Cruz’s words, is "a sorrowful song in minor tonalities, but with a warrior energy, strength and forward vision: a soul departs, but a new one arrives in the name of Naeku, a maasai child. Not all grief needs to be a suffering; a feeling which I can relate to the place I come from with a Quechua word: Llaquilla - triste, pero feliz (sad, but happy). As always, the 303 adds that heart touching feeling.” If there’s a template for Multi Culti’s ethos, Cruz has synthesized the formula: Masai lamentation filtered through Quechua wisdom with a touch of 303 for the soul.

'Drom Tradisie' is a nostalgic vignette that captures the fantasy of a scenic horizon on a lost beach, a portrait done with the FM domain of synths that somehow associates with tropical imagery.

'Third Eye Dub’ takes things deeper, exploring the fractal realm of concentration, a point where the Oud (played by Nasiri) acts on the pineal gland. This inward journey through the cavernous depths of the subconscious sails on a smooth modular groove that transports the listener across this psychic expanse, a filigree of Persian harmonies (in Shur, to be exact) tracing outlines in the dark.

Finally, 'Kawe’s Dream’ ventures even further into the imaginary spaces of the mind. It is an aural reconstruction of the Tibetan Bardo Thodol, or ‘Book of the Dead’, a sacred text that guides the spirit through the passage out of the body. In Nicola’s words "To paint that depth, I had these Tibetan chants in mind, that I ended up crafting with Ableton's vocoder over a piece of Ayan’s vocals (sung in a made-up language). A few notes, and it gave the gravity I was looking for in the song.” Stuff that only a producer as capable as Cruz could pull off.

Hybridism’s five tracks are sonically diverse, yet all possess an ephemeral quality, a pastoral, transitory feeling that travels through the music - we listen to the sounds pass us by, we might even catch a hook or two, but the feeling is of sand running through our hands, deep, elusive, beautiful.

Our latest Holy Grail reissue is this private press spiritual jazz gem out of California from Rickey Kelly and his vibes & marimba. Features Diane Reeves (vocals) & Adele Sebastian (flute)!

Heavyweight 180g LP with tip-on sleeve, individually numbered 1-1000, card enclosed for liner notes & audio download

"Rickey, I know these are your friends, the guys you went to school with, but if you wanna record an album, you record with musicians who have been playing their whole life; whatever you write, they'll put their whole life into it. You play with your friends; they may not even play in tune."

These are the words of Slave guitarist Kevin Johnson, and they were to change the course of young Rickey Kelly's life.

It was 1978, and music student Kelly had approached Johnson with a tape of rough demos of some songs he'd written. A San Francisco native, Kelly had recently moved the short distance south to study music at LA City College in East Hollywood. He was a member of E.W. Wainwright Jr.'s African Roots of Jazz, and was spending up to 10 hours a day in practice on both vibes and marimba. He also played with Horace Tapscott, and had his own band made up of fellow students, but it was his ambition to make an album that led to the conversation with Johnson. It was a turning point in his education, and a decision was looming.

The next thing Johnson said was "You call the best jazz musicians. How'd you like to play with Billy Higgins?", a line that would seal it for anyone; for a youngster like Rickey just starting out in the business, you just don't turn down the opportunity to play with the likes of highly accomplished musicians, especially those of the calibre of legendary jazz drummer Billy Higgins.

Some calls were made and the date was set to record at Studio Masters on Beverly Blvd, a studio set up just a few years previous in 1973, owned and operated by Dot Records founder Randy Wood with his son John. Some of the other music professionals set to record with Kelley that day were flautist Adele Sebastian, bass player Tony Dumas, saxophonist Charles Owens and vocalist Diane Reeves, none of whom had previously played with Kelly before.

Kelly was impressed with the studio, with the gold records displayed on the walls and the famous musicians hanging out. 'It took a lot of humility for me to record with them, I mean I was nobody, nothing, and for not a lot of money either' remembers Rickey in a later interview with Calvin Lincoln, 'It taught me a lot, to practice hard, and study for the rest of your life, to give your all, and there's a lot of all to give'.

As the recording session took place, John Wood was listening in. He was impressed. Kelly didn't have the funds to manufacture and release the album himself, so Wood suggested it was pressed up on his in-house studio label, Los Angeles Phonograph Records, and thus the LP 'My Kind of Music' was released early in 1979. The album also saw a subsequent pressing soon afterwards on Dennis Sullivan's New Note label.

Kelly remains humble and proud of his debut album to this day. 'I was still a beginner' he says, 'These masters walked in, smiling, and gave me something worth gold'.

After backing future Mike Oldfield producer Tom Newman and playing in psychedelic outfit July, percussionist/flutist Jon Field and guitarist Tony Duhig joined forces with bassist Glyn Havard to form experimental prog act Jade Warrior, their non-standard 1971 self-titled debut a work of excellence unjustly overlooked. Veering between acou-stic introspection, searing acid rock and world music interludes, with melody and percussion from Africa and India and nary a drumkit in sight, this pure musical gemstone of uncommon beauty is ripe for rediscovery, and this edition comes with a rare alternate of ‘Telephone Girl’ to boot. Mega!

Jade Warrior is the debut self-titled and self-produced album by Jade Warrior, released in 1971 as part of the progressive rock movement. The album sets the scene for what the majority of the band's albums were to sound like, mixing various ethnic sounds with a progressive and otherworldly sound, as well as sudden changes between slow acoustic guitar melody, to distorted and heavy electric guitar with a faster tempo.

When it comes to deep and jackin' Techno with a touch of funk, Jackmate aka Michel Baumann was in a league of his own. As a producer, working in the house-techno spectrum he was able to keep a level of high quality, always trying to push himself and never afraid to try out new ideas. You never new what he would do next and that was probably why so many of us kept following him, checking out a new release and playing his music.

One of the many projects he was working on before he sadly passed away was collecting and preparing a compilation of Jackmate music from his vast archives. The idea was to present tunes from back in the day, or as Michel called them 'Jackmate classics'.

The compilation would also include some of Michel's favourites which he reworked and of course new music, there was always a new Jackmate track waiting to be finished. This vinyl sampler contains all new Jackmate music plus a Jackmate rework of the Soulphiction classic "Masai Mara"

DARYL HELMS AKA SPACE & HOWARD STEVENS OFFER THEIR NEW GROUP EFFORT.
DNH A HYDRA WORLD.
THE LP SEES THE NATURE SOUNDS RECORDING ARTIST DROPPING HIS ABSTRACT
NEW YORK LYRICISM OVER HYPNOTIC PRODUCTIONS BY THE LONDON BASED PRODUCER.
THE LP SHOWCASES DNH’S FUNK PUNK REGGAE & SOUL INFLUENCES & STANDS PROUD IN THEIR
REVOLUTIONARY THOUGHT & MULTICULTURALISM.
DNH FIRST RECORDED TOGETHER ON THE FIRST WEATHERMEN PROJECT “PARANOID ANDROID”
WITH CAGE & MASAI BEY.
SPACE WOULD GO ON TO FEATURE ON LP’S WITH CAGE, VAST AIRE, CAMUTAO,
CANNIBAL OX….
HOWARD STEVENS WOULD PRODUCE FOR THE LIKES OF MF DOOM, MF GRIMM,
LEWIS PARKER ETC….
THE LP WAS MIXED & MASTERED BY JUICE, ALSO PRODUCING “HYDRA WORLD TRANSMISSION”.
IT ALSO FEATURES A CO-PRODUCTION WITH HIS GREEDY FINGERS BRETHREN SMIMOOZ ON
“MADE IN AMERICA”
THE ALBUM IS AVAILABLE AS SHRINK WRAPPED LP VINYL & DIGITALLY.
THE SINGLE “ANGELS OF GOD” IS AVAILABLE TO DOWNLOAD & THE VIDEO BY TRYPTA MEDIA
THERE WILL ALSO BE A SUPPORTING VIDEO AFTER RELEASE FOR “ROUND THE WORLD”

Electro banger !!!

Inspired by the otherworldly Sounds of Horror Sci-fi Soundtracks, Filippo Diana is able to merge vintage, experimental- and library music into sth. contemporary & soul-shifting.
After his debut Release Nemesi, he's now joins Slow Motion for his first Mini-Album Musica per "Commenti Sonori". Slow, earthly rhythms churn from the inside, expelling a complex, abstract sound that is still very tangible to a dancers ear.