Search:the spirit

Easily one of the greatest roots reggae albums of all time, Soul Rebels resulted from the intensive partnership brokered by the group and maverick producer, Lee 'Scratch' Perry. It was the first Wailers 'concept' album, conceived as a long-player based on a rebellious theme, rather than a collection of isolated singles, and the presence of the Barrett Brothers in the rhythm section pointed the way for greater glories to come. The Wailers first formed as an unruly 5-piece in 1963, with Junior Braithwaite as lead singer and Beverley Kelso an early member, sometimes replaced by Cherry Green. During their long tenure at Studio One, Bob Marley gradually shifted to the lead vocal role and the robust core of Marley, Peter Tosh and Neville Livingston, aka Bunny Wailer, soon emerged as the mainstays of the group. Perry was involved with the Wailers at Studio One, using their talents for backing vocals on some of his solo work, but the partnership that yielded Soul Rebels was in an entirely different league. The title track, Tosh's anguished '400 Years and 'Corner Stone' are legendary for their intense power; 'It's Alright' set the template for the later 'Night Shift,' 'My Cup' was an individual barebones reading of James Brown's 'I Guess I'll Have To Cry Cry Cry,' while the playful 'Try Me' and 'No Water' are suggestive odes. Tosh's dejected 'No Sympathy' and the spirited 'Soul Almighty' are other winners and the 'Cloud 9' revamp 'Rebel's Hop' is another joy. All killer, no filler!

Due to popular demand, 22a presents the out of print Ruby Rushton LP's from 2017, in a deluxe gatefold vinyl format, strictly limited to 500 copies.

The Tenderlonious led jazz quartet Ruby Rushton and their 22a imprint have been at the forefront of the UK jazz scene since the release of their debut album 'Two For Joy' in 2015. The band transport you back to the 70s Headhunters era, whilst still adopting the spiritual concepts of John Coltrane and Yusef Lateef. Audiences can expect to be treated to high energy compositions, fusing flavours of afro beat, hip hop, and Latin jazz.

Both Trudi's Songbook Volume One and Two were met with mass acclaim in the summer and autumn of 2017. They received regular airtime and support from DJ's, tastemakers and radio stations across the world, including Gilles Peterson, Benji B, Bradley Zero, Jazz FM, BBC Radio 6 Music, Worldwide FM, NTS and many more. The huge support for the albums led to Trudi's Songbook: Volume Two being nominated for Jazz album of the year at the 2018 Gilles Peterson Worldwide Awards.

With a brand new album due for release in March 2019, this limited edition, 2xLP, deluxe gatefold issue of Trudi's Songbook: Volume One and Two closes this chapter for the band and paves the way for new material.

Intergalactic cosmic soul featuring ebony rose and members of the spellbinder project.

The B side is a spiritual jazz instrumental with a soprano sax lead.

Armagnac started in 2010 a label in metz all naked records & throwing up parties with his Fensch Groove Consortium (FGC) crew. After few years, he decided to move to paris france where between his writing for some famous french magazines & sites, he produced some marvellous tracks that keep the bobby konders spirit alive. This is spiritual deep house full of mystery and fuzzy textures that puts most 'deep' house to shame. ESSENTIAL ! SKYLAX RECORDS 4 EVER

'For The Colleagues Of Ubu & Their Authorities' is the brainchild of Vienna based vinyl enthusiast, DJ & producer The Reboot Joy Confession. What once started as a series of mixes has been expanded into this compilation, on which he brings together diverse genres of music like electronica, modern minimalism, folk, post-rock, avant-garde or modular music, which also reflect his own versatile musical taste. 'As I stopped thinking in genres, my attempt was to merge my musical taste in the most fluent way possible onto one record. There are mesmerizing songs from some of my favourite contemporary artists - I feel a timelessness in their music, I can ´t get tired of. With the compilation I wanted to create a contemplative, fictitious, surreal world, merging those different styles together. Giving it that title, I wanted the listener to be able to imagine a tale that is building up with each song. I am really happy about the outcome of this compilation and hope that many other listeners can feel the magic.' The compilation includes the surreal work of Swiss producer Dim Grimm (also known as Dimlite), as well as a collaboration between Merz & Julian Sartorius Drum Ensemble who radically altered the original version of 'The Hunting Owl' into a monstrous percussive live version. Taken off the debut album from one of Poland ´s most interesting musicians at the moment, Waclaw Zimpel & Kuba Ziolek, 'Wrens' is a fusion of folk, jazz and modern minimal music. Experimental pop musician & filmmaker Tujiko Noriko appears with an emotional piece that challenges the paths between pop and avant-garde. Gerhard Zander, whose musical work started on the outskirts of experimental pop music in the early seventies in Germany, delivers a modular synth masterpiece with unique sounds, textures and a far-out synth choir. Rock and ambient influenced musician Helen Money (also known as Alison Chesley) is a Los Angeles based cellist and composer who appears with a massively dark post-rock song called 'MF', which was recorded at Steve Albini's Electrical Audio studio in Chicago in 2009. Often compared to Frank Zappa and known for their richness of ideas, Liverpool's a.P.A.t.T. contribute the hypnotic 'Young Free & Parasite', with references to British glam, post-punk or synth rock, but in a fresh and obscure sounding outfit. SSELLF, the moniker of New Zealand ´s Christoph El Truento, inspired by post-punk and noise. 'Visitors' is simple and simply in your face, with lo-fi drums, distorted synths and raw vocals by Christoph himself. After a few seclusive years, The Reboot Joy Confession returns with a new, crispy and soulful track. Cinematic strings written by Martin Riedler, arranged by Flip Phillip, and recorded at the established Vienna Konzerthaus, based on a properly arranged drum outfit and played by a villain named Gurlimu. Both strings and drums are guiding through the whole song and culminate in Glockenspiel and Rhodes melodies. Oceaneer aka Japanese pianist Oneechan Nanashi completes the compilation with her beautiful and profound composition 'The Sea, Forever'. She describes her music as 'improvised instrumental underwater music from the bottom of the Pacific Ocean, played with broken instruments, directed by the spirit of drowned people who are talking through the hands of the pianist. It's lonely and bleak music for the dead.'

The Daktaris is a well-disciplined army of two hundred African Bull Elephants marching relentlessly up your business to the beat from Funky Drummer. Or so began the liner notes on the original pressing of this album.

Truth is often stranger than fiction. In 1998 Desco Records—a precursor to Daptone and Soul Fire records—released The Daktaris' Soul Explosion, ostensibly as a reissue of an unearthed Nigerian LP from the seventies. Though it's now common knowledge that the story was a bit of a hoax, the record's significance as a seminal part of the Afrobeat and afro-funk renaissance of the last two decades cannot be denied. The roots of the Budos Band, Antibalas, and uncountable others can be traced back to this enigmatic afro-funk release.

Now, two decades later, Daptone has remastered the album from the original tapes, including a bonus track that had previously only been available on a 45, and featuring extensive all new liner notes by Bosco Mann telling the bizarre true story behind the Daktaris sessions.

KEY MARKETING POINTS:
- FULLY REMASTERED, including new bonus track, 'In the Middle.'
- Extensive new liner notes by BOSCO MANN explaining the real story behind The Daktaris.
- Features members of The DAP-KINGS and ANTIBALAS.
- Features JOJO KUO (drummer for FELA KUTI) on vox and percussion.
- Originally released on DESCO RECORDS in the 1998, has been out of print for years.
- The spirit of the late, great Fela Kuti runs through The Daktaris' Soul Explosion. - Jazz Times

James Baldwin was an unparalleled master of the written and spoken word. He was best known for his brilliant essays, plays and novels that shone light on his insights into race, sexuality, spirituality and humanity. Baldwin was an incredible orator who commanded the power of words. Whether on the pages of his books or in speeches and debates, he was passionate, compelling and powerful. This EP is the second half of a project that is a tribute to Baldwin. It features extracts from the audio portion of a documentary film shot of a discussion led by James Baldwin and Dick Gregory at the West Indian Student Centre in London in 1968.

Peabody & Sherman is a partnership between Phillip C Hertz and Curtis Ruptash - drummer and bass player respectively. They share common interests in dub, afrobeat, funk, jazz, ambient and improvisational music. They have long histories of the employing 'studio as instrument' approach to recording. The foundations for this EP was P&S rhythm tracks recorded at the Wayback Machine Studio in 2011. Supplemental instruments were layered on to create the final product. The same original sessions were also the source for their James Baldwin EP released in 2012. That EP featured remixes by Area and Afrikan Sciences.

The same concept is applied here, with remixes being contributed by Waajeed and BusCrates. Waajeed is a Detroit producer known for inventive and genre-defying music. He is background includes his work with Slum Village through to the Platinum Pied Pipers and to his work with his own Dirt Tech label today. BusCrates is a Pittsburg based producer known for his inventive use of electric and vintage synths to create deep layers of analog goodness.

Names You Can Trust presents the second installment of Rueda de Bullerengue, a collaborative series with NY-based Bullerengue collective, Bulla En El Barrio. Named after the group's ongoing monthly performance and workshop in Brooklyn, Bulla's collaborative spirit and dedication to the tradition of los bailes cantados has made an indelible mark on the bubbling tropical music scene of New York City, and in turn, found their way into the crates and sets of DJs and vinyl aficionados via their first 7-inch release on NYCT in 2017. Since those initial moves, Bulla has continued to grow and add working members while maintaining a philosophy and connection grounded in the traditions of their Colombian origins. They've studied and collaborated with elders and legends like Emilson Pacheco and Darlina Sáenz, and this past year embarked on a recording with Barranquilla-based collective Tonada Baile Cantado — the focus of this edition's recording and release.

Considered one of the premier groups advancing the tradition of Bullerengue within Colombia, this incredibly talented group of young musicians are a rarity for their skill and age. In a region where there are ongoing festivals celebrating the tradition of Bullerengue that still command massive audiences and performers, Tonada is a true representative of what can happen when such an amazing tradition is passed forward to an eager next generation. Produced by Bulla members Camilo Rodriguez and Diana Herrera (aka Carolina Oliveras) in between their time smashing stages across the U.S. for Combo Chimbita, this is a carefully nurtured and powerful bridge to the beloved traditions of Colombia's Caribe region.

Without further ado, here lies Volume 2 of Rueda de Bullerengue, featuring Tonada Baile Cantado, a new generation of traditional Colombian dance music transmitted directly from Barranquilla — Four dance floor crashers in the styles of fandango and chalupa, ready-made for your 45 spins in the inimitable style of Names You Can Trust.

Martin Buttrich, a name synonymous for decades with expertly curated sonic productions, has had a career as long as it has been prolific. From youthful productions as an 18 year old under the alias 'X-Rotation', to his 2010 debut album 'Crash Test' and its follow-up 'Collaborator, Vol. 1' in 2016, he is an artist who has constantly evolved. Now he's back to showcase his latest EP 'Northeast / Southwest' on Planet E, due for release on 1 February. 'It's been 11 years since my last full release on Planet E and I am so happy to be able to kick off 2019 in style and return to my spiritual home. I spent the last few months working on these tracks at my studio in Barcelona and am looking forward to sharing them with you'. - Martin Buttrich The opening track 'Northeast' sees punchy stabs interlace with a shifting melodic bass, both dancing playfully over and under shuffling snares and hats which carry the listener from start to finish. 'Southwest' continues on with a bouncing percussive groove that provides the platform for a canorous bassline and string melody to emerge.

Following a run of sought-after releases on cassette from artists including Anthony Naples, Xvarr and E Ruscha V, Good Morning Tapes switch to vinyl for their latest (and first with HJ).

By Mahbunzi Nahgo Pihndi ("All the Healing Green Leaves of the Forest') aka Brian Close, one half of New York avant-garde duo Georgia:

'This record is an extension of a foray into trance ritual music. It is structured as a companion for film, meditation, vision seeking & sound rest.

It is by nature a nature worship record, combining acoustic percussive improvisation, sensory foley, vocalized staccatos, and a specific brew of physical / metaphysical sound relations... mind hush / thought flush / spirit rush / sun rise.

Inspired by an initiation ceremony of the Bwiti / Fang people of Gabon. This collection relays a fragmented branch of timings of this ceremony and proposes other paths for the sacred (Mougongo) instrument.

Recoded + Restructured + Reflected as a time capsule, with fullest respect / blessings to breeze the Bwiti understandings through the current climate.

Proceeds of this record will be donated to Tata-Yo (Nganga), Ebando.'

Phil Ranelin's first record as a leader is worlds away from his later 1976 offering, Vibes From the Tribe. The Time Is Now is a vanguard jazz record, full of the spirit, determination, and innovation inspired by John Coltrane, Eric Dolphy, Cecil Taylor, Pharoah Sanders, and Archie Shepp. Recorded in 1973 and 1974 and released at the end of 1974, the set shows Ranelin to be an imposing composer and frightfully good trombonist. The original album contained six compositions that are a deep musical brew of avant-garde improvisation, hard bop jazz esthetics, and soulful melodic ideas that were superimposed as a jump off point for both harmonic and rhythmic (read: Latin) invention. The stamp of Detroit is all over this thing. Tracks like the title and "Black Destiny" reflect the anger and vision of the era, while moving it all in a positive musical direction. Soloists on the set include the rest of the Tribe collective -- Marcus Belgrave and Wendell Harrison -- as well as local players who deserved far more than they received in terms of national recognitions: bassist Reggie "Shoo-Be Doo" Fields, trumpeter Charles Moore, pianist Keith Vreeland, drummer Bill Turner, and others including Ranelin himself. The arrangements on The Time Is Now were ahead of their time, clustering a rhythm section as part of the horn's front line ("13th and Senate" and the title track) and a stylistic angularity that reflected both musical history and futurism in jazz and R&B ("Time Is Running Out" and "Times Gone By"). The Time Is Now is a must for any vanguard jazz aficionado or anyone interested in the strange, rhythm-oriented evolution of Detroit music. Thom Jurek/AMG

A never before released version of a truly, legendary house record from the late great Frankie Knuckles...working in collaboration with The Frankie Knuckles Foundation who will receive 50% of the profits from this project, SoSure Music is proud to present the Director's Cut re-production of 'Baby Wants To Ride'. Alongside this, a vinyl exclusive edit by Jimmy Edgar, which was originally a tribute release after Frankie's passing in 2014, finally gets an official release.

2011 saw the launch of Frankie and long-time production partner Eric Kupper's 'Director's Cut' project, with the aim to release new music, whilst re-producing classic cuts to fit with the modern dancefloor. SoSure Music is now working alongside Eric Kupper and Hector Romero, with the blessing of both Def Mix and The Frankie Knuckles Foundation, to bring a renewed focus to some of this material.

First up, the illustrious, evocative 1987 anthem, 'Baby Wants To Ride'. Rightly regarded as a masterpiece of early Chicago house and a pioneering classic through and through. Knuckles and Kupper extend the intro and outro to allow for those sweeping blends, whilst adding deft touches and reprogrammed lines to give a crisper, more detailed feel to this sumptuous slice of definitive house music. Couple that with newly spiritualised vocals and fresh erotic ad libs from Jamie Principle and prepare to rekindle that infectious energy 32 years down the line.

On the B side, Jimmy Edgar showcases his trademark touch to provide a fresh spin on the original whilst staying true to its essence. Reworking the arps, adding atmospheric drops and crunchy percussive elements, whilst holding off on the iconic vocal till the last section, all combine to give this version a unique, big room character that nods to the past, yet reinterprets for the present. A fitting tribute from an artist whose own productions are clearly laced with influence from Frankie Knuckles.

Official, remastered reissue of this disco tinged, afro funk treasure and the first time the 'Karam Bani' single has been cut to 12' - maximising every ounce of highlife soul from Sidiku Buari's productions.

That undeniable US funk flavour coupled with Buari's Ghanaian rhythms bring a zest to these grooves even the tangiest of forbidden fruits couldn't draw out. Those fuzzed keys and dusty highlife guitar licks sprinkle the West African flavour, whilst drumming demi-god Bernard Purdie provides the wizardry behind the infectious, yet precision like beats that make the track so unique. Purdie's killer breaks combined with Buari's jubilant vocals give a spirituality to this cut that'll liven up any dancefloor - alongside being a gold mine for samples.

Flip it over and you're hit with the joy filled jam, 'Ye Koaba'. Tribal drums lead the way for a chorus of jubilant chants supplemented by glistening synth sounds and funk fuelled guitar riffs. It's a feel-good slice of Ghanaian sunshine, capturing that community spirit and good-hearted nature Ghana's famous for.

Two afro funk sensations sure to put a smile on your face, even when the skies are grey and you're 5000 miles away from the glorious West African coastline.

Masterworks Music Rolls Into Town Once Again, This Time With France's Very Own Chevals Firmly In The Saddle. Four Peak Time Disco Edits Of Tried And Tested Dancefloor Anthems, Ready And Raring To Be Unleashed.

First Out Of The Blocks, 'my Feet Keep Changin', Drenched In Uplifting, Gospel Leaning Vocals That Will Have Hands Reaching For The Heavens. Couple That With Dazzling Piano Melodies, A Pulsating Bass And Staccato Strings, Alongside A Spiritual Breakdown That Will Bring About Full-on, Holy Disco Enlightenment. Next Up, A Filtered Disco House Gem In The Form Of 'this Time Is Dedicated To Love'. Shimmering Vocals, Synth Trills And Guitars That Radiate Warmth Combine With Fresh Percussive Samples And Lush Female Harmonies.

Take To The B Side And You're Hit With 'never Will I Leave You Baby'. Sun-kissed, Beachside, Wind In The Hair Vibes - Bringing Back Memories Of Those Warmer Months, Where Everything Just Seemed That Little Bit More Blissful. '80s Synths, Fuzzy Hats, Filtered Phrases And Sweet Chord Progressions In Abundance. Closing Out The Ep Chevals Goes Heavy On The Modulated, Wobbly Synthwork And Rich Bass Tones On 'love Somebody' Before Those Deep, Soulful Keys Take Centre Stage.

Disco Edits Done Properly!

New York residing DJ/Producers John Barera & Will Martin update their longstanding body of collaborative work with their first 2MR release since last year's exceptional 'Proceed To The Root' sophomore album... And it might just be their best work to date. Continuing the celestial theme of their last EP 'History Of Space'; the EP is the result of a whole new writing technique and heller time spent jamming on Will's Chroma Polaris synth. Comprising four tracks that simply ooze machine soul and loose-limbed groovemanship, 'Life, The Heavens & The Earth' is an ageless document that digs deep into the foundations while staring out into the cosmos. The tone is set by 'The Meaning'. Outer planetary electroid savoir faire; its crisp breaks are countered by the bulbous textured bassline throughout. It's followed by the title track 'Life, The Heavens & The Earth'; a spatial excursion built around a classic break and coloured with poignant arpeggiated cascades. Deeper into the EP we glide to strike warehouse gold on the venomous acid of 'In The Depths Of Madness', a layered analog jam that writhes and slinks dynamically in the spirit of Pierre, before closing with a track the duo feel is their most accomplished composition to date: 'Searching For Time'. Not just a title we can all relate to but a poignant emotional workout that touches your soul in the same way you first heard the instrumental of Information Society's 'Running'. Beautiful emotive electronica from a duo who keep getting better with every release. The journey to the root continues....

Continuing on the thematic thread of soundtracking an imaginary short movie, label founder DJ Tennis aka Manfredi Romano, asks some of the greatest contemporary club producers to take on the task of interpreting this idea in their own unique style. Romano explains that 'the score is a translation of our imagination, memories and emotions into music, with no protocols.' Opening the soundtrack, Vatican Shadow swaps his thunderous techno for a more cosmic and gentle approach, setting the tone for an equally serene soundscape from London based DJ and producer Midland. Japanese Future Terror head honcho, DJ Nobu, layers dense cerebral textures exuding the punk spirit of Life and Death. A similar rule defying energy can be heard by Ninos De Brazil who fuse carnival percussions with straight up old school techno. Both Scuba and Uchi bring the futuristic synths of a space age tomorrow we've all been waiting for. German producer Isolee interprets the task with his minimal productions and Italian producer Cosmo closes the compilation with Psychedelic Soundscapes turning into a distorted gabber missile. As the decade edges closer to it's decade anniversary, Romano proves yet again that Life and Death is a label which evolves through each reincarnation of itself, never failing to impress.

It's been 6 years since ALTZ.P released their debut single 'Dodop' in 2012 from a label 'Crue-l', which Kenji Takimi presides over. They've produced the black fat tight band sound, which is exotic and toxic but sharmanic and heavenly. Pulseman, the singular genius, has a perfect command of vibration frequency originating the groove. His minimalism and the Middle East disco beats by the drummer, Mau (ex-NEWEST MODEL), and the bass player, Shake Yoshimura, are intersecting organically. The one and only sound view of ALTZ, the star that shines on the scene, is spiritually colored by the shrine maiden chorus girls, Maririns, whose names are all Mari. Their psychedelic power of language in the soulful chorus is interesting. Also, 21CH (ex-DAMAGE) is performing the synthesizer as a guest player.

Local Talk are proud to announce the first artist EP of 2019, 'Basic Knowledge' by producer extraordinaire Boddhi Satva, showcasing his unique quality and musicianship.

Basic Knowledge comes with two mixes.
First up is the 00's mix, a near-epic track, riddled with emotion and deepness, certain to cause more than just a few goosebumps. The key stabs and strings makes this one of the deepest cuts of house we've heard in a minute.

On the flip 'Together' is another elegantly realised stylistic track where all the moving chords are exposed and pushed to the front. A grand tour through the deep-rooted rhythms with a minimal yet spiritual sound.
Last but not least is the 90's mix of Basic Knowledge. It takes all the ingredients from the A side mix and infuses it with more jack, together with the kicks, snares and the swollen bassline.

Deep in the Romanian wilderness, beyond the foggy wastelands and the drab greyness of the metropolitan district you can find the base of two musical wizards who invoke the spirit of the past to transmit a very modern interpretation of their nation's musical traditions.

They are known as Livio & Roby and they have been putting their own supernatural twist on house and techno for the past 10 years. Their connection with the global electronic music movement has been channeled via highly influential outlets such as Desolat, VIVa, Saved and Fumakilla. While their physical presence has been felt in a myriad of venues from Buenos Aires to Detroit, and across much of Europe. From dynamic DJ sets and innovative live performances to album projects and a constant flow of cutting edge, dancefloor-based productions the duo remain one of their nation's leading lights in the field.

The tribal rhythms, inspired by Romania's colourful history, penetrate your psyche: the organic instrumentation lifts your spirit; flutes and vocals combine with delicate chimes, while groovy basslines and solemn melodies create a magical concoction. It's a formula that caught the ears of their early supporters, Steve Lawler signed them up to VIVa Music and Berlin stalwart Woody introduced them to the city's music scene via his highly-respected Fumakilla label.

Jac Berrocal, David Fenech and Vincent Epplay return with Ice Exposure, their second album for Blackest Ever Black. A sequel and companion piece of sorts to 2015's Antigravity, its title couldn't be more apt: sonically it is both colder, and more exposed - in the sense of rawer, more volatile, more vulnerable - than its predecessor, capturing the combustible energy and barely suppressed violence of the trio's celebrated live performances with aspects of noir jazz, musique concrète, no wave art-rock, sound poetry and spectral electronics all interpenetrating in unpredictable and exhilarating ways. While there are moments of great sensitivity and even a cautious romanticism, the prevailing mood is one of anxiety, paranoia, and mounting psychodrama: close your eyes and Ice Exposure feels like a dissociative Hörspiel broadcasting from the seedy backstreets of your own troubled mind. Before he picks up an instrument or opens his mouth, Berrocal's unique and compelling presence can be felt: a combination of studied, glacial cool and anarchic, in-the-moment intensity that has served him well over a long and storied career. It was honed during his time as a theatre and film actor, and in the 70s Paris improv scene, it powered his influential Catalogue group in the 1970s, numerous seminal, sui generis solo sides, and far-sighted collaborations with the likes of Nurse With Wound, Lol Coxhill, Pascal Comelade and James Chance which have seen him come to be valorised by two generations of avant-garde agitators and eccentrics. Now in his eighth decade, it comes with an added gravitas, perhaps, but no less energy or vitality. On Ice Exposure, his lyrical, instantly recognisable trumpet playing is a key feature - see especially the ghostly, dubwise take on Ornette's 'Lonely Woman', the dissolute exotica of 'Salta Girls', and the sublime echo-chamber soliloquy 'Opportunity'. But more often it's his voice that commands centre-stage, whether casually discharging surreal poetic monologues or moaning in animal despair - a vocal tour de force that transcends language and culminates in the Dionysian frenzy of 'Why', Berrocal's half-spoken, half-howled exclamations jostling with David Fenech's slashes of dissonant guitar, over Badalamenti-ish, panther-stalk drums. Fenech's origins are in the mail-art scene of the early '90s, when he led the Peu Importe collective in Grenoble, and since then, in addition to his own recordings he has worked as a software developer at IRCAM and played with Jad Fair, Rhys Chatham and many others. Together with Vincent Epplay he is responsible for Ice Exposure's inspired arrangements and vivid, vertiginous sound design. Epplay is a visual artist and composer with particular interest in aleatory composition, concrete, and the reappropriation of vintage sound and film material. He and Fenech fashion a remarkable mise-en-scene for Berrocal to inhabit, one that embraces cutting-edge electronics while also paying homage to the best traditions of outlaw jazz and libidinous rock'n'roll ('Soundcheck' invokes the brutish spirit of Berrocal's hero Vince 'Rock N Roll Station' Taylor). On 'Blanche de Blanc', Berrocal's voice is framed by a groaning, ghoulish orchestra of industrial drones, while 'Equivoque' evokes the most humid and hostile Fourth World landscapes and 'Panic In Surabaya' lives up to its name, a hectic, pulse-quickening concrète collage that leaves you gasping for air. This is a searching and singular trio operating at the absolute peak of their powers, with an interplay that transcends studio and stage and occurs at an almost telepathic level. Ice Exposure is a triumph of that group mind, an underworld dérive as life-affirming as it is unnerving and psychologically precarious.













Panic In Surabaya

G.I. Gurdjieff was an Armenian and Greek philosopher, spiritual teacher, and musician, whose teachings of The Fourth Way influenced thousands worldwide and created communities that still exist to this day. His goal was to teach humans to reach a higher consciousness out of the "waking sleep" he considered most to be living in. Music was an important part of his teachings and these brilliant harmonium improvisations were recorded in 1949 in Paris, just a short time before his death. Droning and ethereal, these beautiful pieces mark a pinnacle in the work of a legend of human spirituality.

22a023 sees trumpeter, friend and long-time label affiliate Nick Walters bring his Paradox Ensemble back to life with the mini-album 'Awakening'.

The thirteen piece ensemble combine spiritual and eastern jazz moods with West African rhythms across four extended tracks. Limited one-off pressing, manufactured at Optimal, Germany.

With A Meeting Point Of Old School Electro Acid Sound This Ep Dig For The Real Underground Side Electro Acid Famillies And Connections... Labels Notes About This Production Is 'the Circle Is An Ancient Geometric Figure, Used Since Prehistoric Times, Representing Endless Cyclicity.
The Circle Is In Fact A Continuous Line, Which Could Be Traced To Infinity In A Circular Sense That Represents Energy And
Spirituality,
The Sense Of Belonging To Something, To A Group, To A Thought.'

Obscure Kraut record inspired by the black forest, cold lakes and the south-west wind. Recorded in two days in the countryside of Valley by Daniel Meuzard aka Feater and Franco Spenzini.
Downsized production for maximum spiritual release.

Tradition futuristic Cumbia travelsound through Caraibs, Africa, Andines, Spain, India, ... Superb open minded compilatio nbringing loads of bloody good tune... and a pure spirit :! ENJOY !

Seit Dem Plötzlichen Und Völlig Unbemerkten Erscheinen Ihres Manifests Im Jahr 2016 Schwor Das Weird Folk-songwriter-duo The Mañana People, 100 Lieder Zu Schreiben, Die Die Wege Des Pop-genre-diskurses Erkunden. In Der Mitte Ihres Kampfes, Während Sie Eine Reihe Von Hausgemachten Freak-folk- Und Psycho-country-kuriositäten Erfanden, Wurden Ihre Bemühungen Gnadenlos Von Dem Deutschen Kult-label Unique Records Unterbrochen, Das Sie An Den Ohren Packte Und Ihnen Sagte, Dass Sie Aufwachsen Und Eine Richtige Platte Machen Sollten.

Das Ergebnis Ist Ihr Bevorstehendes Debüt "princess Diana", Ein Hauch Frischer Radioaktiver Luft In Der Welt Der Autorenmusik. Die Exzentrische Sammlung Von Melodien Bietet Theremin-getriebene Honky-tonk-kracher, Zombie-themen-electro-pop-balladen Und Horror-spirituals, Sowie Eine Zusammenarbeit Mit Dem Besten Troubadour Selbst, Bonnie 'prince' Billy.

Die Erste Anstrengung Der Mañana People Schafft Es, Harmonisch Zwischen Experimentierrinnen Und Der Angenehmen Leichtigkeit Der Popmusik Zu Schwingen. Tim Weissinger Und Alvaro Arango Trafen Sich An Einem Winterabend Auf Den Grünen Wiesen Ihrer Universität.

Ihre Musikalische Chemie Und Das Kalte Wetter Zwangen Sie Quasi, Sofort Musik Zu Machen. Ihre Debüt-ep "the Mañana People" Wurde Am Halloween-abend 2014 Online Veröffentlicht. Ihre Musik Wurde Sofort Von Ihren Freunden Gelobt, Von Ihren Feinden Gefürchtet Und Von Vielen Anderen Ignoriert.

Seit Anfang 2015, Und Mit Hilfe Von Tobi Mercer (keyboards) Und Simon Mead (schlagzeug), Haben Die Mañana People Ihr Wort Verbreitet Und In Jeder Bar, Café Oder Straßenecke Neue Seelen Gefordert.

Nach Einer Zweiten Ep - "horror Songs" - Ist Es 2016 An Der Zeit Für Ein Komplettes Und Mit Spannung Erwartetes Debütalbum Auf Unique Records!

Die Jungs Supporten Honig Auf Seiner Herbsttour.

Live
14.09.18 Ulm Roxy
15.09.18 Mainz Schon Schön
16.09.18 Dresden Beatpol
17.09.18 Berlin Privatclub
18.09.18 Leipzig Werk 2
19.09.18 Nürnberg Club Stereo
20.09.18 Essen Zeche Carl
21.09.18 Köln Kulturkirche
22.09.18 Bremen Tower
28.09.18 Konstanz Kulturladen
29.09.18 Saarbrücken Kleiner Klub
30.09.18 Aachen Musikbunker
02.10.18 Langenberg Kgb
03.10.18 Haldern Pop Bar
04.10.18 Hamburg Knust
05.10.18 Münster Sputnikhalle


Für Anfang 2019 Ist Eine Kleine Eigene Tour In Planung.

Welcome to the strange musical world of Tolley & Dara, an experimental duo whose incredible music held a marginal yet vital position on the fringe of the Australian music industry during the late 1970s and early 1980s.

Consisting of jazz bassist and synthesist David Tolley and percussionist Dure Dara, their union was a relationship of romance and intense creativity, a deep spiritual bond consecrated amidst banks of modular synthesizers and racks of exotic percussion instruments.

Recorded over a series of live performances in the spring of 1979, the music featured on Cutheart was edited and assembled from eight improvised pieces recorded at the Universal Theatre Melbourne. Comprised of analogue synthesizers and a vast array of tuned and non-tuned percussion, Tolley and Dara sculpted a cluster of electronic abstractions and organic splashes of Gamelan-influenced percussion; a dense otherworldly soundscape coloured with trance-like vocal scatting and deranged muttering.

Known for his bass playing on the classic Australian jazz-rock album Carlton Streets by The Brian Brown Quintet and also as a member of EX-, (the collaborative project with Daevid Allen from Soft Machine/Gong), Cutheart sees Tolley explore the outer realms of heady improvised electronic music.
While the music of Tolley & Dara exists in a sonic universe all of it's own, similarities could easily be drawn to another likeminded musical partnership, the American husband and wife duo Annette Peacock and Paul Bley. Cutheart is a pioneering recording of extended synthesiser and percussion technique from the Australian experimental underground.

Les Disques du Crepuscule presents Signals Into Space, a brand new studio album by acclaimed electronic duo Ultramarine. SIS is their seventh album, having debuted on Crepuscule back in 1990.
The new long player was conceived by Ian Cooper and Paul Hammond over a three year period and features four songs co-written with North American musician Anna Domino, a firm favourite of the group since her leftfield pop releases on Crepuscule and Factory in the 1980s. 'For this project we wanted to do something more ambitious and perhaps more accessible than our last album in 2013,' explains Paul. 'We were keen to start collaborating with other musicians again, as well as develop our method of performance-based writing and recording, which is partly improvised.'
 Signals Into Space also features contributions from saxophonist Iain Ballamy (ECM, Food, Loose Tubes) and percussionist & vibraphone player Ric Elsworth. It was recorded and mixed in London with Andy Ramsay (Stereolab) and mastered by Noel Summerville.
 'To some extent Signals Into Space is an escapist record,' reveals Ian. 'Our rehearsal space is a small windowless room on an industrial estate in Essex. Possibly as a result we ended up with a collection of visually suggestive tracks, conjuring mental images of cities, deserts and tropical islands, which gradually came into focus as Anna's lyrical ideas developed. So while the music might have been conceived in a closed space it's imbued with a positive spirit - looking outwards, seeking contact.'
 Cover art by Studio Heretic. Available on CD, digital and vinyl LP (vinyl format includes a free digital copy on MP3).

If you read the name Shankar you may right away think of Ravi Shankar, the grand master of contemporary Indian folk music who was very popular in the 60s due to his connection with the music industry in the United States despite staying away from the pure pop music by maintaining his classic sitar and tabla style ragas to express himself musically. Ananda Shankar used to be his nephew who also made a journey to the USA to gather inspirations from rock artists like Jimi Hendrix among others. His first album from 1970, a conglomerate of classic Indian folk tunes and instrumental versions of the hottest rock songs of the day clothed in a veil of sitar melodies and backed up with tabla drum grooves, was an attempt to combine the spiritual approach of his cultural origins with the light minded blissful attitude of western psychedelic pop music. It worked well in the sense that it is still, nearly fifty years later on, a groovy little album that leaves nobody sitting around at any random hippie party. He took a five year break from recording to create what should become his second album and this is what I am about to present to you now. The cover-tunes were replaced by all original compositions with a lush instrumentation that features the typical sitar, tabla and bowed string instruments such as sarong and sera arrangements mixed with sounds that have a definite western origin such as rock guitars, Hammond organ and moog synthesizers plus full drum kits that take care to enhance the actual groove. Psychedelic rock, raga, fusion-jazz and funk flow into each other quite naturally giving birth to something fresh and exciting I would label as Bengali pop'. The borders between eastern and western music get abrogated here. If it was not for a few deeply mythical chants on a bed of drones here and there you could not even tell this was a record by an Indian artist. This album is quite accessible most of the time and comes with a certain slickness that makes it easy for the listener to understand and appreciate what is going on. Still there is the other side of the coin, the depth pop music often lacks. So in the end this might have been too far out for the average western mainstream fanatic back in 1975 when disco began to rule but it is an awesome sound trip for fans of psychedelic dance music like INCREDIBLE BONGO BAND and all eastern influenced popular rock.

Led By Nigel Ayers And Caroline K, The Band Was One Of The First To Use Tape Cutting, Avant-garde Art, And Underground Video Works To Create A Stage Experience That Was Being Cultivated By Like-minded Artists Like Throbbing Gristle, Spk And Cabaret Voltaire.

Originally Self Released In 1988 On Earthly Delights, Spiritflesh' Is A Masterpiece And A Major Reference For The Early Drone/dark Ambient Minds.

By The Time The Album Came Out, Nocturnal Emissions Had Already Produced Several Albums Of Electronic Music Which Varied From Noisy To Funky. Displaying His Usual Perversity, Nigel Chose To Ditch Electronic Dance Music Immediately Before The Acid House Revolution And Produce A Series Of Utterly Compelling Atmospheric Albums Which Are Often Referred To These Days As Being 'ambient Industrial'.

"spiritflesh" Was The First Offering By The New Shape Of Nocturnal Emissions. The Record 'came Out Of A Long, Hard Thinking, A Personal Examination Of My Own Motives For Working Within Music.' Nigel Ayers Played Church Harmonium, Chime And Music Box On The Record, And Used Samples Of Chimpanzees, Cattle, And African And European Wild Birds. While Generally Ambient, The Music Is Not Like Brian Eno's Work; It Is Atmospheric, But Impossible To Relegate To The Background.

'there's Always A Dangerous Intrusion Of The Real World Into Our Music,' Ayers Said. 'we're Looking Into The Relationship Between People And The Environment, The Kind Of Feedback Which Happens Between People And Locations. Underneath It All, This Planet Has Got Its Own Message.'

Tokyo based DJ/Producer Tsuyoshi Ogawa presents "Seven Samurai" is vinyl-only label has been founded in 2018 and operating in Tokyo, Japan. It pays tribute to the Japanese legendary movie director 'Akira Kurosawa'. This 3rd EP inspired by his movie "Ran' that well known Japan/ French co-production movie. To follow the tradition, this EP featuring French producer Vida from Paris. His deep and spiritual three tracks bring us the Japanese traditional theatre forms called "Noh and Kyogen" and It feels like the main character of the movie who thrown into darkness and madness. This reconstructed Japan/French co-production EP is dedicated to Akira Kurosawa as a new spiritual soundtrack for Ran

Günter Schickert, four decades of multi-instrumental cosmic explorations, under Berlin's sky, above genres, and compromises.

It was memorable the time when I firstly listened to his debut LP of 1974, the monumental Samtvogel. It overwhelmed me with layers of echoing guitars roaring into space, causing a powerful release of dopamine spreading through my skin, in the way an Interstellar Overdrive', or a Richard D James Album would do. It was a proof of the divine to discover Günter Schickert, it is a profound honour today to present on Marmo his seventh album to date, Labyrinth, the first to be released on vinyl format since 1983`s Kinder In Der Wildnis.

Schickert's Samtvogel, self-published first, then licensed to Brain, equaled the imaginative leap and sonic power of the early Pink Floyd, Manuel Gottsching's Inventions For Electric Guitar or A.R. & Machines's Die Grüne Reise. What followed, from his second LP Überfällig on Sky Records to his collaborations with Klaus Schulze, Jochen Arbeit and Schneider TM, even if little acclaimed, spans a large spectrum of music styles, always through a distinctive and personal aesthetic, that is deeply linked to the one he firstly crafted back in '74, when Schickert pioneered the use of echo effects applied to guitar playing.

And now Labyrinth, a record that stands for versatility, where genres do not matter, soundscapes or life situations take over, song-writing emotions pop out, handing out a spectrum of surprises to the listener. You may find yourself flying low along steep cliffs and with a blink of eye you are thrown into a Middle Eastern scenery.

The album is divided into two parts, two different production bulks and periods of Günther Schickert's life. Side A features a selection of tracks recorded in 1996, appearing on the 2012 album HaHeHiHo, released via Pittsburgh based VCO Recordings, on a limited press of 100 units, tape format only. I felt that the visionary and emotional richness of these pieces deserved the vinyl format and a chance to reach to a wider audience.

The Raga-inspired Morning' opens Labyrinth with exotic charm and bitter-sweet nostalgia. Sieben' kicks off with the same guitar scales of the previous theme, before the motorised progressions of a Korg MS-20 synth surprisingly storm in, carrying along an intersecting multitude of filters and sharp guitar effects, flowing into an epic, paradisiac ending. Ninja Schwert' remains on astral dimensions, it is a struggle of cosmic forces, where the steady ride of a pounding beat gets embraced by different guitar layers and analogue electronic filtering. The side closes up with HaHeHiHo', a slow ballad featuring Mr. Schickert on vocals, guitar, bass guitar and drum machine - an example of simple, stripped down yet gifted songwriting that is capable to reach the heart of the listener.

Side B contains material produced between 2007 and today. The intricate, bewildering Tsunami' shows the multi-instrumental and recording abilities of Günter Schickert: a field-recorded storm with mesmerising powers, a peculiar progressive approach to guitar playing. Mysterious sinister spirits and sounds are emerging and the feeling of being lost in a pleasant trance arises. In contrast, Oase' muffles the intensity and jumps into a completely different soundscape, where in liaison with the sounds of a rolling drum tom and a desert-like trumpet, the microphone carefully captures the found sound tones of everyday-life objects and actions. Like HaHeHiHo on side A, Checking' represents the vocal gem of the B side, in a raw and direct way of songwriting like if Syd Barrett was his invisible helper. Palaver' (which means unnecessarily talk' in German) assembles different vocal recordings of Schickert into a bizarre free-style conversation through a mysterious language, where he attempts to emulate illiterate children conversating. The final track, Morning (Slide)', reprises the opening theme, this time solely performed through the caressing dilated sounds of Günter's slide guitar.

Julien Baker, Phoebe Bridgers and Lucy Dacus
formed boygenius after booking a tour together
but the trio had subconsciously been in the works
for longer than that. Through a series of tours and
performances together and chance encounters that
led to friendships - including Bridgers' and Dacus'
first in-person meeting backstage at a Philadelphia
festival, greenroom hangouts that felt instantly
comfortable and compatible, a couple of long email
chains and even a secret handshake between
Baker and Dacus - the lyrically and musically
arresting singer-songwriters and kindred spirits got
to know each other on their own terms.

With a meeting point of Old school electro Acid sound this EP dig for the real underground side electro acid famillies and connections... Labels notes about this production is 'The circle is an ancient geometric figure, used since prehistoric times, representing endless cyclicity.
The circle is in fact a continuous line, which could be traced to infinity in a circular sense that represents energy and
spirituality,
the sense of belonging to something, to a group, to a thought.'

Invoking imagery of condensed, interstellar warfare - Dayzero takes command of the controls for Sentry Records' eighth release. Based in Japan, the acclaimed producer follows up on his substantial outings for Wheel & Deal and Hatched Music among others - having continuously refined his highly effective compound of Dubstep with vocal support from the scene's vital tastemakers. Now joining the Sentry roster with two monumental armaments, the newest signee shows us how it's done. Enrichening the sound system music scene with a no-nonsense production style as well as his innovative, experimental approach - all killer, no filler.

Taking off to another dimension in 'Sunday on Spaceship', listeners are met with feigned lo-fi soundscapes, carved out of analogue noise and detuned echoes. A state of overt tension dissolves into Dayzero firing up the heavy weaponry with stripped down sub bass tremors and meticulously crafted off-kilter groove. Amongst granular, apocalyptic percussion reverberating voices of days past flicker. Diverse drum instrumentation and supple distortion keep it lively, a no-questions-asked onslaught and guaranteed way to light up any dance.

Flipping over to the B-Side, we're placed on the receiving end of another ton of musical napalm. Finding ourselves being churned through bare concrete, laced with psychedelics. 'Down By Law' oozes of sonic variance, as industrial plucks shine through the cracks - furthering the aberration alongside narcotic staccato arpeggios. Subtle use of eerie harmonies and surging feedback wails is firmly kept in check by brute-force kicks and snares - ceremonious pressure underneath. Venting high-pressure 808's amidst supremely crafted breaks, leaving us yearning for more. A pair of mean-spirited sound-bwoy murder tracks on a twelve-inch platter - enough said!

This raw, intimate recording, which took place at the start of Prince's career right before he achieved international stardom, is similar in format to the Piano & A Microphone Tour that he ended his career with in 2016. The nine track, 35-minute album features a previously unreleased home studio cassette recording of Prince at his piano captured in 1983.

The private rehearsal provides a rare, intimate glimpse into Prince's creative process as he worked through songs which include "17 Days" and "Purple Rain" (neither of which would be released until 1984), a cover of Joni Mitchell's "A Case Of You", "Strange Relationship" (not released until 1987 on his critically acclaimed Sign O' The Times album), and "International Lover".

The album also includes a rare recording of the 19th Century spiritual "Mary Don't You Weep" which will be featured during the end credits of Spike Lee's BlacKkKlansman in theatres August 2018.

For fans of Prince's spontaneous live medleys, tracks 1-7 of the album are presented in that same format as they were originally recorded.

Next up on High Praise, we're pleased to welcome two long time friends of the label for their first collaborative venture. Introducing Rude & Mean (also know as James Rudie and EVM128). As key members of the infamous CoOp collective, they have been flying the flag for the UK's broken beat revival, turning heads with their intensely soulful productions. Supporters include the likes of Gilles Peterson, Bradley Zero and many more.

'Moments In Soul' and 'Just flow' are two exuberant masterclasses in how to create a joyful edit. Their broken beat background shines through in the meticulous drum programming, giving the performance a natural, live feel and setting it apart from others in their class. Syncopated rhythms, celebratory chords and relentlessly energetic basslines feature throughout - creating a groove so powerful you can't help but be spirited away to the dance floor.

With this release High Praise continue to build their status as a label to keep an eye on, with their party series and clothing line steadily growing in popularity.

Santo Sangre is a project by San Francisco-based artist, producer and DJ Gonzo Manuel. On its first release, Quetzal, perhaps a reference to the central-American bird with bright, ornate plumage Gonzo taps into a Latin-accented, tribal feel that is ably carried on rolling, syncopated percussion with an organic essence, a birdsong-like chant, sporadic and light bursts of actual song and haunting string chords that cut across the sound spectrum, adding dark energy and urgency to the track. This one will sit nicely out on its own, bringing a hybrid organic/robotic essence to the dance or would work equally well rinsed around in the mix, with all its elements appearing and disappearing at just the right time as a transition ascends and peaks.
Oakland producer Indy Nyles remix builds on the tribal theme by enhancing the syncopated aspect of the percussion. He augments this further with a pretty and drifting melody line composed of glassy keyboard sounds. The sense of drama this creates is boosted further by a breathy and repetitive voice sample. This concoction drives along nicely until around the 5 minute mark when Nyles drops a menacing, snaking thread of 303 bass, stabs of icey strings and echo and delay effects that amplify the shadowy, seductive allure of his remix. Its a new sounding track but the acid line and syncopation bring to mind some of the psychedelic, breakbeat classics of San Franciscos halcyon, rave era.
Rounding things up is the Slope 114 Remix. Here Dmitri Ponce and partner
Elise Gargalikis take the track on a house journey that is, like Indys mix, brand new sounding but possessed by the spirits of the classics. Elises vocal flourishes bring to the mind the Latin house, tribalist dynamism of Louie Vega and Indias River Ocean numbers while Dmitri nudges the bassline from chunk and funk to acid and massive without sacrifcing the subtlety of the maneuver. The subtle aspect being that a techno, a tech-house and a straight up house heads will be able to bounce this one to the box without leaving her generic comfort zone: the true mark of a classic.
This release is a strong start for this new artist, look out for more fire from this Bay Area talent

Big news on the Apparel Tronic side. We're here to celebrate another step forward of our newest label introducing the 7th release on the catalogue & 2nd on vinyl, by an artist we really admire and we're delighted to have on board with us: Julian Habib aka Inkswel, on this project with his alias 'That Dude Inkswel'. The man himself created an 8 tracks LP which truly represents our spirit of experimentation, this time round steering towards a more jazzy influenced hip-hop, shaped up staying true to the sound we love. 'The Sound' LP features dope collaborations such as the Detroit vocalist and multi-instrumentalist Brownstudy singing on the opening and title track, the amazing progressive artist Maia Von Lekow giving her voice for B1 track 'Mother' alongside Mista Monk, the superb Han Litz's flute and Trujillo on Kellin' it & also Divine Species on 'Galaxies' and Mr. Shem rapping on A3 track 'Dedicated to Mr. Schem'. This work is a bold and captivating selection of different styles belonging to the same soul orchestrated by Inkswel and his musical mastermind, listening to 'The Sound' is like jumping on a caravan for a journey where every track is a different stop: crunching beats, deep bass lines, psychedelic melodies. The ingredients for this amazing recipe are all coming from different parts of the planet, a place that Inskwel seem to have written on his palms seen his capability of bringing different music influences under the same roof, where he finally invited Apparel Tronic to hang for a bit.
racks such as 'Snooker Club' and 'Viejos' delve into more caliginous, IDM territory. The result is a rich and varied collection that demonstrates Apparel Music's unwavering ability to continue to keep listeners guessing.

Following a first compilation in 2016 and a series of parties, Rinse France & Piu Piu join forces for the first release of her own label : Grooveboxx Records.

Together, they present 'Memorias', the first EP of her new imprint.

Quite explicit through its title, Grooveboxx catalogue stands for an exploration of the grooves across its modern shapes, it embodies the quest of trance throughout music and question the body and the individuals on the dancefloor.

The first release is composed of 5 percussive tracks from producers and DJs Aleqs Notal, Myako and Geena.

All tracks are exploring samples coming from the Musee du Quai Branly's ethnos collection along with some some field recordings captured in a garden in Paris where south American tribes were exhibited during the ""Universal Exposition"" in Paris.

With Salvia Cosmica Myako takes us to a progressive voyage surrounded by all kinds of spirits whispering melodies to our soul while the tribe's marching band marks our footsteps with its strong percussions. Enter the forest.

Influenced by Chicago & Detroit, house producer Aleqs Notal graces us with a percussive jam baptized Finger Prints.
6:45 of pure rhythmics honoring the roots of the music its been sampled from. The rite begins.

La Dansa Del Risa is a conversation between birds and humans overlooking at the tension one night in the forest can impose on our western fears of nature. Stay close to the flames.

Antinote senior, Geena blesses us with Selva Spirit, a slowjam reverie filled with eerie pads and peculiar drum sequences.
We're almost there.

Last but not least, Jungla Encantada seals the EP with a deep wisdom and mastership of the jungle's best kept secrets. It's slow pace and flute melodies appease our senses while mysterious dialects becomes our native language.

The journey is complete.