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Mekanik Kommando was a post punk / New Wave band from Nijmegen, the Netherlands founded in 1979 by Peter van Vliet and Laszlo Panyigay. The duo became a quartet with the addition of Simon van Vliet and Mirjam van Hout. The name Mekanik Kommando comes from the album ?Mekan?k Destrukt?w Kommand?h? by the French progressive rock band Magma. Inspired by a DIY ethos, Kraftwerk and Magma, the band began recording songs at home using two tape recorders. Their demo cassette was discovered by Wally van Middendorp of Minny Pops and owner of Plurex Records, who booked them for a gig at Paradiso in Amsterdam. In 1981 they were asked to contribute music on a flexidisc for the first issue of newly established magazine Vinyl. In the summer of that year the band recorded their debut album ?It Would Be Quiet In The Woods If Only A Few Birds Sing? released on Torso. In February 1982 the band secured five days of studio time at Salisbury Sound in Dordrecht. The end result was the mini-album ?Dancing Elephants? released on Torso later that year. Musically, the five songs are a mix between cold wave, experimental electronic and industrial pop. The band utilized two bass guitars plus a Korg 770, KR-55 drum machine, violin, effects, metals and plastics. Lyrics explore themes of decay and morality, hypnotically spoken on top of playfully metallic sounds. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each EP is housed in a replica of the original jacket, which features artwork by the group members, and includes a 4-page booklet with lyrics and notes designed by Eloise Leigh.

Strut presents an all-time classic of South African music, the definitive remastered edition of Miriam Makeba’s ‘Pata Pata’, her first album recorded for Reprise in 1966.
The album marked a significant international breakthrough for Makeba. Moving to the US after the anti-apartheid film ‘Come Back, Africa’ gained international attention and staying there in exile, she quickly built her career in New York during
the ‘60s, mentored by Harry Belafonte. Signing with Reprise after a period with RCA, she returned to one of her older songs: “I wrote ‘Pata Pata’ back in 1956, back in South Africa,” remembered Makeba in her autobiography. “It was a fun little song and I was thinking of a dance that we do at home (“pata” means ‘touch” in Zulu and Xhosa).” Originally a hit in South Africa with her early vocal harmony group the Skylarks, the new recording, produced by Jerry Ragovoy, brought a lighter uptempo R’nB arrangement, adding some English lyrics. “It was my first truly big seller. All of
a sudden, people who never knew I had been in America since 1959 were asking me to be on their television shows and play at their concert halls during 1967. In the discotheques, they invented a new dance called the ‘Pata Pata’ where couples dance
apart and then reach out and touch each other. I went to Argentina for a concert and, across South America, they are singing my song.” The track peaked on the Billboard Hot 100 at no. 12 and the album. Other songs In the album included a version of the traditional Xhosa classic, ‘Click Song Number One’ (‘Qongqothwane’), the atmospheric ‘West Wind’, later famously
covered by her friend Nina Simone, and a version of Tilahun Gessesse’s ‘Yetentu Tizaleny’ which Makeba learned on a trip to Addis to perform for Haile Selassie at the Organisation Of African Unity. Mastered by The Carvery from the original reel to reel tapes, ‘Pata Pata’ is released in its mono and stereo versions for the first time. Physical formats feature brand new sleeve notes alongside rare photos from the time of recording and session details.
The album is released on 6th September on 2LP, 1CD, streaming and digital

Hamburg-based Mireia Records is ecstatic toannounce their thirteenth release: Julian Stetter’s “Sensual EP”.
You’ve probably crossed paths with Julian in thelast couple of years. Not only because he’s the tallest guy in Cologne, but the producer and DJ has been actively shaping modern dance music
with his flourishing, melancholic sound. He’s been releasing music with Permanent Vacation, Kompakt, Correspondent and hometown labels Ancient Future Now and PNN.

It’s also not his first time on Mireia Records. Remember the beautiful “Porto” on “We’ll Sea
Pt.1?” Here, Julian presents two original tracks which are reinterpreted by SONNS and Matt
Karmil.
The title track “ Sensual ” manages to erase the mundane, the world’s vanishing around you.
It’s pitched shaker and airy bells evoke introspective tones. The bassline on the other hand
keep you steady - the dancefloor is still visible through the clouds!
“ Rumors ” picks up the pace. Kick drum and syncopated hi-hats set the stage for a serious
bassline, interwoven with fleeting melodies.
Bright and euphoric brushstrokes from Julian’s synth elevate the pace and catapult the track
towards a crescendo. Booming snares signal the peak.
New Release Information
Strobe lights, sweat and ecstasy.
SONNS opens up the B side with the first remix by whispering “ Rumors ” in your ear. A
brooding bass line takes you on a trip to the dark corners of the city. Hypnotically chugging
toms highlight the sights. Let’s get lost tonight!
With his releases on Kompakt and strong DJ Sets SONNS’ been a long time favored entrant
into Mireia Record’s catalogue.
Matt Karmil’s version of 'Sensual', although on B2 of the vinyl, doesn’t hide its assets.
Kicking off with frantic high hats and a distorted glitch, he pushes the track forwards
intriguingly. Arpeggiated melodies layered supremely over the percussion drive the track
forwards, the simplicity of the track and sharp cuts and drops create an interesting dynamic
to the single creating a perfect juxtapose to the other tracks on the release.
Matt’s also been on Mireia’s radar for a long time. His atmospheric adventures for Studio
Barnhus, Smalltown Supersound or Beats in Space always convey a spirit of living, breathing
leeway.

LOFTSOUL x Miruga release cover version for Nina Simone's masterpiece See Line Womanon

10inch vinyl format. LOFTSOUL is the project by DJ/Producer UCHIKAWA MASAHIKO well known as Rhythm Of Elements (R2 Recordings/UK).For this Nina Simon's cover song,LOFTSOUL collaboration with Miruga (Moods & Grooves/Detroit) And featuring London's JAZZ/SOUL singer Fae Simon.

Also there include great "DUB" version by DJ D a.k.a Dominic Dawson (well known as release from Noid Otherand Reel Houze project with Rob Mello).

Marking the 15 year of Nina Simone's death,LOFTSOUL release cover version of her masterpiece See Line Womanas tribute.

See Line Womanis fantastic afro percussive number.This song is popular for club scene by 98's Kerri Chandler(Songstress)'s remake and 07's Feist's cover. LOFTSOUL x Miruga cover this song vibrant

Jazz/Soul Number. Original Versionis superlative Jazz/Soul version. There features beautiful harmony with Fae Simon's vocal and Soul-T's piano on the afro mystic groove (about BPM 90)

On the flips side ,Dominic Dawson a.k.a DJ D deliver fantastic "Dub Version" as (Dominic Dawson Dub Reversion)with afro percussive rhythm and dub wise sound&groove.

Release from UNKNOWN season x Jazzy Sport as special limited 10inch issue.

Originally released in 1983 on independent label For Sale (sub-label of the highly influential Baby Records, home of some of the most striking italo-disco ever), this album is quite a different monster. Produced, composed and arranged by Maestro Gian Piero Reverberi (once part of the progressive cult heroes Le Orme and then the man behind the ‘classical gone disco’ project Rondò Veneziano) Presage lives in a ‘twilight-zone’ where new-wave, post-prog and disco weirdness collides. Some of these numbers could have been easily played at the Hacienda in Manchester or even used as a soundtrack for some mid-eighties Argento movie. Part of the musicians used to be involved in the prog band from Genova Struttura & Forma, while others spent time behind the desk with some minor disco stars. All in all quite an unusual heavy rare-groove collection.

Canadian composer Scott Morgan’s 12th long-player as loscil takes its title from an influential series of early 20th century photographs by Alfred Stieglitz, abstracting clouds into miasmic, painterly canvases of smoke and shadowplay.

It’s a deeply fitting analog for Morgan’s own musical process across the past two decades, fraying forms and tones into widescreen mirages of opaque texture and negative space.

The name Equivalents referred to Stieglitz’s notion of the photographs as being equivalent to his “philosophical or emotional states of mind;” the same could be said of these eight weighty, shivering chiaroscuros of sound. Each piece unfolds and evolves enigmatically, adrift in low oxygen atmospheres, shifting dramatically from pockets of density to dissipated streaks of moonlit vapor.

The entirety of the record was created specifically for the album with the exception of “Equivalent 7,” which began as a dance score for frequent collaborator Vanessa Goodman.

The album version of this track was reworked with Vancouver musician Amir Abbey aka Secret Pyramid.Cloud photographs taken by Scott Morgan at various locations throughout Cascadia in 2018.

All producers on this timeless EP known for their contribution to NuDisco/Deep House Music. 1 Life records has enlisted the services of top talents. U.S deep house veteran Vincent Floyd wrap drifting deep spheres, lilting electronics & warm synth rhodes chords around a chunky groove on his fine beat interpretation for a brighter & breezier deep house vibe on a remix that benefits greatly from a squeezable synth bassline & some undulating TB-303 style acid motifs, while Rico De Almenda deliver a driving chunk of dub-disco/deep house fusion rich in sparkling synthesizer lines, sun-kissed chords & his own rubbery post-punk bass. Studio don Vincent Inc always bring unforgettable impressions & inspiration for mind, body & soul. 4 tracks came together to tell music stories about hypnotic deepest stuff, depression, happiness, loneliness, love, miracles & magical experiences. And now we're asking other's to join the sound conversation

Available on vinyl for the first time in 40 years, Outernational Sounds proudly presents a cornerstone document from the Los Angeles jazz underground, Flight 17 – the first appearance on record of the legendary Pan-Afrikan Peoples Arkestra, led by their founder and mastermind, Horace Tapscott.

"The Arkestra would allow the creativity in the community to come together, would allow people to recognize each other as one people and ask, “Now what can we do to make this community better? What can we do for this community together?”...That’s how the Pan-Afrikan Peoples Arkestra – the Ark – began, with the knowledge that we wanted to preserve the black arts in the community."
Horace Tapscott

Horace Tapscott’s Pan-Afrikan Peoples Arkestra (P.A.P.A.) was one of the most transformative, forward-thinking and straight-up heavy big bands to have played jazz in the 1960s and 1970s. Countless musicians passed through its ranks, and in Tapscott it was led by a musical visionary who should be ranked with the very greatest names in the music. If P.A.P.A. doesn’t have the interstellar rep of that other famous Arkestra, and if the name Tapscott doesn’t ring bells like Monk or Tyner, there’s a reason why: in an industry dominated by record labels, a band that doesn’t record doesn’t count. And the Pan-Afrikan Peoples Arkestra didn’t record for nearly twenty years. But recording success was never their concern – they weren’t about that.

First formed as the Underground Musicians Association in the early 1960s, Tapscott always wanted his group to be a community project. From their base in Watts, UGMA got down at the grassroots. They played for the people, organising fundraisers in parks and coffee houses, hosting teach-ins and workshops for young and old, and mixing it with radical theatre groups, firebrand poets, political radicals, Black separatists, community groups and churches. They lived communally, supporting each other and their people, and built an ark for the Black arts in the heart of the city. The group was renamed the Pan-Afrikan Peoples Arkestra in 1971, and soon after they established a monthly residency at the Immanuel United Church of Christ which ran for over a decade, while still playing all over LA and beyond. But through all this, they never released a note of music.

It was the intervention of Tom Albach, a fan of Tapscott and the group, that finally got them on wax. Determined that their work should be documented, Albach founded Nimbus Records specifically to release the music of Tapscott, the Arkestra, and the individuals that comprised it. The first recording sessions in early 1978 yielded enough material for two albums, and the first release was Flight 17. From the surging avant-gardism of Herbie Baker’s title track to the laid- back summertime groove of Kamonta Lawrence Polk’s ‘Maui’, or Roberto Miranda’s uptempo Latin jam ‘Horacio’, Flight 17 showcased the radical voices of the Arkestra’s members. Led out by Tapscott’s hard-swinging piano, this is the first flight on wax of the West Coasts’ foundational community big band – energised, hip and together. Open up the gates and prepare for departure!

This edition of Flight 17 contains two tracks previously only available on the 1997 CD edition: ‘Coltrane Medley’ and ‘Village Dance’, recorded live at the Immanuel United Church of Christ. It is released as a limited vinyl-only edition on a 180g pressing by Pallas. Fully licensed from Nimbus West founder Tom Albach.

In the early eighties, Edmond Mondésir, professor of philosophy and Léon Bertide, trade unionist, founded the Bèlènou group. They were actors of the great agricultural strike of 1974, which resulted in the death of two workers (Ilmany and Marie-Louise) and left many wounded. Activists of the patriotic movement Asé Pléré An Nou Lité (Stop crying, Fight), they were part of the identity and the cultural affirmation la revendication identitaire et culturelle of the time. Like the Guadeloupean musician Gérard Lockel and his work on the Gwo Ka, they put the Bèlè, in its traditional form, back in the spotlight during Swaré Bèlè (Bèlè nights).Minimalist and spiritual, a true rural ancestral art from Martinique, the Bèlè combines dance and music from responsorial monodies, which is a choir that responds to the lead singer (Respondè / La vwa dèyè), on codified drum rhythms and ti-bwa (2 sticks that hit the back of the drum or a piece of bamboo). It comes in a series of collective choreographies, working up into the trance. The texts are simple, short and tell the story of everyday life and struggle. While preserving the emotion and the drum’s central place, the fundamental contribution of Bèlènou is to keep the traditional form of Bèlè while adding a modern instrumentation: bass, guitar, saxophone, drums...
Emosyon Tambou-a (Emotion of the Drum) was released in 1990. This third opus of the band expands the musical spectrum in harmonies, arrangements and influences to create a contemporary music anchored in the Bèlè matrix, while keeping the beat, the energy and ancestral roots of music. Bèlènou adapts some classic rhythms: Bélya, Gran Bèlè, Bèlè Pitjé or Ting-Bang rewritten here for an orchestra.With the appearance of long couplets and a complex harmonization of the choruses, Bèlènou's music brings a form of modernity, it opens notably to jazz territory as well as to other forms of music and grooves. Also, Bèlènou leaves the musicians with space for improvisation: not only on the saxophone or the guitar, but also with the drums (cleverly adaptating traditional rhythms to the drums).

The texts sung in Creole are of a social nature, appealing to the solidarity and self-denial of the people (Bélya pou péyi-a, Tout pèp-la sanblé), to the struggle for political emancipation towards a new democracy (Wi ny ké rivé, Ni dé jou, Démokrasi); land protection (Sové tè-a); finally, to the vitality of the Bèlè culture ... (Emosyon Tambou-a, Dansé Ting-Bang)...Culture participates, according to the expression of Aimé Césaire, as "Miraculous Weapons". Bèlènou sings a project of a new and united society. A precursor group, experimental in the its early years, Bèlènou reconciles with talent tradition, modernity and cultural identity.

Lovely crafted tip-on sleeve. Remastered. 700 copies

This new imprint, TELESCOPE BUYERS GUIDE, is a spin-off from Chicago’s STAR CREATURE. The debut record is from Switzerland’s MIRLAQI with a deep space approach to funktech, “a STAR CREATURE twist combo of METRO AREA meets STRICTLY JAZ UNIT". Props/support from RON TRENT. 4 tracks.

Shimza, one of South-Africa’s shining talents, makes his return to Cadenza with ‘Eminence’, a burning compound of profound percussions and late-night rapturing synths. This Gauteng-born artist is one of the most celebrated African electronic musicians and has garnered the reputation of the “Effect Master” and “Vinyl Assassin” for his technical prowess and intricate mixing abilities. The vibrating drums and persistent arpeggios of ‘Eminence’ make for a captivating peak-time anthem, offering the nostalgic essence of Detroit’s late-nineties splendour. As the EP journeys to ‘Dancefloor Keeper’, the slick trance-inspired stabs and permeating bassline expose its ominous nature as it swells to a seismic drop. On the B-side, Shimza expresses his creative flare with ‘Kunye’; a hypnotic cut that blends the spirit of futuristic synthwave with the soul of African tribalism. ‘Warrant For Arrest’ is a charged number, driven by a snappy compressed kick drum and chiming sequences. As its percussive forces fall away to the second break, a monstrous siren and obscure vocal cuts take focus, guiding it to its summit. The penultimate offering ‘MSC’, is a euphoric gem that flows with expressive phrases and evolving synth pads. The EP’s digital-only bonus track ‘Mirrors’ shuffles effortlessly with a funk-tinged riff, maintaining a high voltage pace, closing the EP in an emphatic manner. Shimza has been on a mission to make 2019 his biggest year to date. Launching his One Man Show concept in Soweto in 2009 to help raise funds for underprivileged children, the project has now matured into an annual event that draws in over 25,000 people each year, hosting some of the country’s most in-demand artists, such as AKA, Black Coffee and Black Motion. The show has seen international editions in France, Spain and Portugal and has helped position Shimza as one o

Having just announced his first solo Ibiza residency, Dance or Die, Nic Fanciulli continues his impressive run of form with a long-awaited debut on Crosstown Rebels. Entitled Miracle (Body Rock), the two-track release includes a stunning remix from esteemed UK talent Paul Woolford.

Beginning things in fine form is Nic Fanciulli’s original Miracle (Body Rock). Whispering percussion combines with the subtle plucking of guitar strings, as echoing vocals are layered underneath soft,
moving pads to create a well-rounded, moving number. Paul Woolford’s Endless Bassline remix comes next. Stuttering hi-hats provide rhythm as the titular rolling bassline chugs on, whilst toneful piano keys merge with reverberating, soulful vocals. Unique, yet staying true to the original, the addition of distorted
claps helps create the perfect dancefloor cut; but it is the re-singing of classic Jomanda’s ‘Make My Body Rock’ vocals that links both tracks in a moving, emotive fashion.

A name synonymous with electronic music culture, Nic Fanciulli is a DJ, producer, festival curator and
label owner whose career has spanned two decades. It was in 2005 that Nic founded Saved Records, an
imprint that is now synonymous with releases from some of the scenes greatest, including Adam Beyer
and Hot Since 82. But it was his latest release on Rekids, titled Understand, that further cemented his
reputation as a standout music producer, with a clear-cut ear for the perfect dancefloor melody. Paul
Woolford is a veteran of the UK’s electronic music scene. A prolific producer who has used many
aliases, the British talent has recorded five Essential Mixes for Radio 1 as well as holding down a nine-
year residency at Space Ibiza. His recent releases demonstrate his continued talent for producing,
including You Already Know, Hang Up Your Hang Ups and Story of My Life on Hot Creations.

Following Jaguar Mirror [c.2016] and Night School Of Universal Wisdom [c.2017], psychonaut Thunder Tillman and his personal shaman Pontus deliver another sublime EP, completing an illustrious trilogy with arguably their most expansive work to date, Condor Sunower. The title track is emotionally overwhelming, a drum procession that carries a righteous battle hymn to epic heights, accumulating primitive instrumentation, ceremonial chants, emotive chord changes and Beach Boy harmonies before exiting on a tear-jerking coda. The intermediary track Sväva is just as vulnerable, a modestly-arranged and leisurely-paced lullaby, where angels coalesce with a droning organ and eventually unfurl into the warm glow of rapture. Before we hit rock bottom, Thunder and Pony halt the elevator, abandoning any sense of melancholy and climbing to new heights with Creation Discoteque, an 11-minute Prog beast that chronicles a myriad of their musical adventures. This retrospective of altered states does seem designed to drop the curtain on their meticulously-crafted narrative, but not without foreshadowing their future and throwing in an air-shaking rave-up that sprints toward the nish line. What we nd enviable, spanning 3 glorious Thunder Tillman EPs and short lms, is the duo's creative simpatico, something that many artists in collaboration never truly behold. It's not their joint musical intuition, their intrinsic understanding of one another's craft, or even the power of their improvisational tether, but their spiritual alliance that nobody can touch. It's as if they share a tandem bicycle ride on the highest plane of consciousness to lounge in the members-only spa where they telepathically discuss secrets of high-grade musical alchemy

Oblique Russian sound strategist Natalia Salmina’s latest forking path portfolio as Atariame, Voiceless, arose in the wake of a dissociative relocation to Moscow, where she found herself adrift amidst a manic metropolis, alone in a skyscraper staring out at trees: “It made me lose faith in my ability to communicate, in my ideas about life.” Days without speaking turned to weeks. Even in private she felt estranged from her voice, and soon ceased singing.

For solace she turned to her Waldorf Blofeld, mining its panoramic frequencies to craft a shivering suite of futurist-noir nocturnes and rhythmic noise vignettes, equal parts exorcism and manifestation, desperation and delirium. Track titles hint at the headspace – “Outside At 5 AM,” “Same Thought All Day,” “Stay Late” – mirroring the music’s mood of hoods up, headphones on, wandering empty urban tunnels under flickering streetlights. Enigmatically, Salmina slips in a sliver of spectral voice on the intro and exit songs (“Breathe Exercise” and “Deconstruction”), framing them as induction into and escape from the cryptic isolationist condition of the rest of the collection. Mastered by P. Nikolsky, Powerhouse Moscow. Design by Britt Brown.

Detailed, smart, commanding, groovy. These are just a few words to describe the Assorted Pieces 2 compilation. This strictly in-house production by Friendship & Decadence contains tracks from such producers as Kade, Mirage Man, Poly Sone and Waltteri. Which is a intriguing mixture indeed.

Poly Sone’s “Home killing is taping music” is a rugged and fast paced take on nordic techno. As the track was recorded on a four track cassette recorder the saturation on this cut is immense, yet pleasant. Definitely not your everyday cheapo lo-fi tune.

Deep, quirky and playful bottom heavy roller, “Calm” by Waltteri has a hint of spanish roast in its blend. Waltteri’s debut on the imprint can be perfectly paired with a fun loving crowd during midnight or even around early mornings. Psychedelic multipurpose tool.

Kade’s raw and unconventional track “Sanko” is a treat for the adventurous mind. Haunting arpeggios and vocal chops will give you the creeps, while the unrefined saturated rhythms will sooth you into a trance. Eccentric and hypnotic dance music.

“This track never starts” by Mirage Man lives by its name as it is a slowly unraveling and cinematic number. Regardless of its thick lower end, in the club environment this track might send the restless to acquire a beverage from the bar, but for the grounded minds who enjoy ambient this just might be the ticket. Play it yourself and see what happens.

Limited press of 150 pcs. 12” record includes a download code.

Analog and digital electronic devices, vocals

All tracks written, produced & mixed by MIRCO MAGNANI and LUKASZ TRZCINSKI
Recorded & mixed in Berlin at Undogmatisch in 2018/19
Mastered by KEN KARTER at DECODE STUDIO, Berlin
Publishing by KIZMAIAZ
Original artwork VALENTINA BARDAZZI
Sleeve design LAPO BELMESTIERI/THE ANTI-B NYC

“Lumiraum” is a neologism, the suffix AUM included in the title, according to the Hindu tradition is the basis of their ethical and spiritual conception.
Its meaning involves the passage and overcoming of four levels of knowledge that are expressed by the three letters A-U-M, plus the extension of the M as maintenance of the vibration.
Operating in a similar way Lukasz and Mirco through sessions of various kinds have taken a similar empirical path through improvisation, coding, editing and re-elaboration and finally mixing.
Recalling in their imaginary the spirituality of ancient cultures, symbologies and concepts that had analogue cosmogonic conceptions of origin of the universe. An imaginary that slips into a remote and anachronistic world.
“Lumiraum” also means a space of light, a circumscribed place in which a message is received and from which a spark arises, an idea.

Hoga Nord Rekords have had the opportunity to work with Al Lover twice before during the last four years and now it's time for the next step in the relationship between them, this time with the 7'' single 'Dark Matter Discotheque / Mark E. Moon'. In these tracks, Lover's influences mainly stems from a decadent eighties New York or Paris and you can almost smell the heavy perfume mixed with indoors smoking get the feeling of sitting in a room with mirror walls.

Jacob Long’s reductionist rhythmic ambient vessel, Earthen Sea, ebbs towards a more purely elemental state on his second excursion for Kranky, Grass and Trees.
He describes the creative process as one of “simplifying things as much as possible,” designing uncluttered spaces traced in nothing but breath, field recordings, and “sounds that could be played by hand but weren’t.”
The results feel decentralized but dynamic, low-lit evocations of ambiguous nocturnal environments – dub techno disassembled into stray pulses and spare parts. It’s a music both interior and infinite, languorous yet transformative, made in the outer boroughs of a metropolis but existing in its own liminal wilderness.
Long’s vision is a grounding one, rooted in the physical body but attuned to larger currents: “In response to living in a fairly hectic city, and at a very hectic time for the world at large, creating something more drawn back and restrained felt appropriate.
track listing:1. Existing Closer or Deeper in Space 2. Window, Skin, and Mirror 3. Spatial Ambiguity4. A Blank Slate 5. Living Space and Usually 6. Shallow, Shadowless 7. Less and Less

Don't let the date fool you, released back in 1983 this modal to slightly free jazz outfit from California takes you on a journey back to the late 60s and very early 70s, into the spiritual realms of greats like John Coltrane, Pharoah Sanders, John McLaughlin and Miles Davis among others. A soul jazz treasure from the LA scene of the early 80s - a fantastic record that I rank with the best Strata East sides of the time! The group's led by alto saxophonist Dadisi Komolafe, and features vibes by Ricky Kelly, piano by Eric Tillman, bass by Roberto Miranda, and drums by Sunship Theus - all working together in a style that's infused with soulful, post-Coltrane exploratory energy, never going too far outside, and always staying true to the rhythmic pulse at its core. Kelly's vibes are really great - sparkling underneath solos by Komolafe that remind me a lot of Gary Bartz's earliest work.