Cerca:the travel

With this release the label celebrates the return to the ranks of the founder Worg. A triumphant homecoming comparable to that of Jason, the main character of the Argonautica, who travelled in search of the Golden Fleece (Il Vello d'Oro) aboard the ship Argo. After many vicissitudes, the hero returned to Iolco, his homeland, to reclaim the throne usurped by his half-brother Pelias.

This new chapter in the Lykos saga focuses on the deeds of Jason and the Argonauts, but also on a key figure who was indispensable to the success of this quest, Medea. Thanks to her and her magical skills, the fellowship of heroes succeeded in grabbing the Golden Fleece. Through careful sound design, hinted melodic cells and complex rhythms, Il Piano di Medea by Worg, sums up details and facts related to this extraordinary legend. Starting from the prophecies of the Oracles, to the tragic and bloody ending of the epic poem, which took place with the death of King Pelias by his own daughters, hypnotized and manipulated by Medea's magic.

The narrative begins with the track Oracolo, characterized by a syncopated groove, nebulous atmospheres and the presence of a dark anthropomorphic synth, which alludes to the solemn, grave and authoritative voice of an entity. A prophetic spirit that warns the listener of the dangers that lurk for those who dare to enter this new sonic adventure. In order to foretell the future and to spread their word, the gods took possession of the bodies of priests who had fallen into ecstasy, using them as intermediaries. In his reinterpretation of Oracolo Neel, the grand Maestro of techno, in a similar way uses musical elements such as a harsh and acid bass line or a tight rhythm to lead the listener into a psychic state of suspension and mystical elevation.

In the music piece Il Vello d'Oro, Worg draws attention to the rare preciousness of this magical relic, rumored to have the power to heal all wounds and for this reason longed by Jason. To evoke the purity of the golden mantle, the artist uses shimmering percussion, radiant textures and the omnipresence of an FM synth bass, full of brilliant harmonics. All enhanced by sound details scattered throughout the arrangement.

Eryx, the record's final track, has a fluid and sinuous flow, with sound elements that recall water, a natural element, protagonist of the Argonauts' journey to the remote Colchis. A melody echoes in the distance, disappears and resurfaces to then collide, like waves on the rocks, with the complex and jagged rhythms that mark the gradual evolution of the
track.

PETE MOLINARI is a country blues singer, songwriter from the Medway Delta. He was born into a large Maltese/ Italian/ Egyptian family in Chatham, Kent, where he was discovered by Billy Childish.
He’s got five critically-acclaimed albums’ worth of timeless folk, blues, rock and alt- country songs to his credit, plus a bunch more EPs.

THIS IS THE FIRST PHYSICAL RELEASE OF ALBUM ONLY RELEASED DIGITALLY IN 2020 DURING THE PANDEMIC…AVAILABLE ON BLACK VINYL AND INDIES-ONLY PALE BLUE VINYL (NON-RETURNABLE) WITH NEW ARTWORK.

Just Like Achilles is the distillation of everything Pete has learned since those years on the road as a travelling troubadour, playing tiny theatres and coffee houses everywhere from London, to New York, Paris to Nashville and around the world, eventually taking him to the most celebrated venues such as The Royal Albert Hall, The Royal Festival Hall, Carnegie Hall and Radio City Music Hall.

Just Like Achilles brims with big songs and huge choruses. After a first listen, it’s like you’ve known and loved this record forever. Although surprising for some who think he is the lone songwriter with his guitar, Pete is a big fan of Pop. Yes, somewhat of a dirty word today, but it is that timeless and well-crafted pop that created so many hit songs in the past that we still adore today.

Pete’s songs always cut straight to the heart of the matter. No fat, no artifice, no histrionics. The sound is real. Live. Real people playing real instruments. Front and center are Pete’s own majestic guitar chops and unique, soulful voice. Even on Achilles’ sadder songs, there’s a buoyancy and potency to them, an infectious effervescence that imbues life is for living, and it is that loving of life that we find celebrated in every song, arrangement and composition.

To coincide with Just Like Achilles highly anticipated release, Linda Perry organized an extraordinary event. She booked out the legendary Capitol Records’ Studio A and hit her contacts list to pull together a supergroup to join Pete in performing his new songs live in the studio. It included legends Ronnie Spector and Don Was, plus Mike Garson and Gail Ann Dorsey from the David Bowie band. Evan Rachel Wood also came along to sing on a couple of songs, while Jakob Dylan duetted with Pete on a very special version of “Waiting For A Train”.

So, everything was ready to go, ready for release. This was the beginning of 2020. And then .... well, as we all know, everything stopped. Now, two more years on, this is Take Two: Just Like Achilles is finally set to receive the release it always deserved.

Blue Vinyl

PETE MOLINARI is a country blues singer, songwriter from the Medway Delta. He was born into a large Maltese/ Italian/ Egyptian family in Chatham, Kent, where he was discovered by Billy Childish.
He’s got five critically-acclaimed albums’ worth of timeless folk, blues, rock and alt- country songs to his credit, plus a bunch more EPs.

THIS IS THE FIRST PHYSICAL RELEASE OF ALBUM ONLY RELEASED DIGITALLY IN 2020 DURING THE PANDEMIC…AVAILABLE ON BLACK VINYL AND INDIES-ONLY PALE BLUE VINYL (NON-RETURNABLE) WITH NEW ARTWORK.

Just Like Achilles is the distillation of everything Pete has learned since those years on the road as a travelling troubadour, playing tiny theatres and coffee houses everywhere from London, to New York, Paris to Nashville and around the world, eventually taking him to the most celebrated venues such as The Royal Albert Hall, The Royal Festival Hall, Carnegie Hall and Radio City Music Hall.

Just Like Achilles brims with big songs and huge choruses. After a first listen, it’s like you’ve known and loved this record forever. Although surprising for some who think he is the lone songwriter with his guitar, Pete is a big fan of Pop. Yes, somewhat of a dirty word today, but it is that timeless and well-crafted pop that created so many hit songs in the past that we still adore today.

Pete’s songs always cut straight to the heart of the matter. No fat, no artifice, no histrionics. The sound is real. Live. Real people playing real instruments. Front and center are Pete’s own majestic guitar chops and unique, soulful voice. Even on Achilles’ sadder songs, there’s a buoyancy and potency to them, an infectious effervescence that imbues life is for living, and it is that loving of life that we find celebrated in every song, arrangement and composition.

To coincide with Just Like Achilles highly anticipated release, Linda Perry organized an extraordinary event. She booked out the legendary Capitol Records’ Studio A and hit her contacts list to pull together a supergroup to join Pete in performing his new songs live in the studio. It included legends Ronnie Spector and Don Was, plus Mike Garson and Gail Ann Dorsey from the David Bowie band. Evan Rachel Wood also came along to sing on a couple of songs, while Jakob Dylan duetted with Pete on a very special version of “Waiting For A Train”.

So, everything was ready to go, ready for release. This was the beginning of 2020. And then .... well, as we all know, everything stopped. Now, two more years on, this is Take Two: Just Like Achilles is finally set to receive the release it always deserved.

With magical chemistry and crystal clear singing, Lily Arbor invites you to
a music experience without facades that feels both genuine and
vulnerable
To their tunes, the contemporary gray curtain suddenly opens to reveal that our
hopes and dreams are within an arm's reach. Felicia Darhult Störby and Lovisa
Nilsson have with skillfully composed songs and accurate lyrics proven that they
are a musical act to count on.Lily Arbor is a Swedish folk-duo formed in 2017 by
longtime friends Felicia Darhult Störby and Lovisa Nilsson. With a harmony
driven, heartfelt sound, complemented by deeply personal lyrics, they have been
described as "a music experience without facades, that feels both genuine and
vulnerable".The duo met in high school and bonded quickly. After high school,
they went their separate ways, traveling the world. After two years apart they
started writing music together as Lily Arbor.
The duo reuniting instantly proved to be fruitful, and the self produced debut EP
'Longing for the Sun' was released in 2019, followed by the single 'Where are you
going'. In early 2020 the second EP 'Better Minds' was released, also this self
produced.
This fast paced surge of creativity combined with a natural proneness for
songwriting led to praise and participation in Swedish media. It also let the duo
tour both Sweden and the world, opening for acts such as Israel Nash, Cordovas,
Sarah Shook & the Disarmers and Joshua Radin.
They had big plans for the year of 2020 and were going to play in Europe, but
everything was cancelled. They decided to record their self- titled debut album
instead.
The duo got their revenge and were touring in Europe in 2022 and in January
2023 we finally see the release of their debut album.

Felicity is an Australian sound artist, composer and educator based in Berlin and her latest effort "Train Tracks Recorded And Edited By Felicity Mangan" will be out world wide on tape and digital December 9.

"Train Tracks Recorded And Edited By Felicity Mangan" composed of field recordings was made during a Green Tour, while traveling only by train and ferry through Denmark, Sweden, Finland and Norway in June 2022.

For this release Felicity utilised raw and sampled field recordings to create a sense of slow travel by train, train networks, train delays and the moments in between waiting for trains or missed train connection in cities and small towns.

Felicity has presented projects in many different settings from galleries, gardens, clubs, festivals and online platforms throughout Europe, including National Gallery Denmark, Technosphärenklänge CTM/HKW, Sonic Acts Academy, RIVERSSSOUNDS.org and recently sound design for 100 Climate Conversations , Powerhouse Museum, Sydney, Australia.

““Stations In Between” establishes a pulse early, recreating the initial excitement that turns to tedium. Four minutes in, the drums disappear, swept away by chimes; no longer stuck, the passenger is moving forward again. The station comes to life: another radio, a street musician, a bicycle, a cough ~ the last sound bearing a reminder of the last two years.”
Richard Allen — A Closer Listen

“the elements of sound are manipulated for effect, and the performance nature of Mangan’ work tends to be an effects driven construction of collated and improvised sounds.”
INNERVERSITYSOUND — Cyclic Defrost

“Throughout the album, it sounds rather as if Mangan had written elaborate electronic music permeated by discreet rhythms and pulsating drones equipped with a whole range of devices. The fact that this is not the case is as impressive as the actual music itself.”
— Fieldnotes Berlin

Brothers Charles and Andrew Hendy and their friend Sean McKenna formed The Mary Wallopers as a three-piece ballad group traveling the length and breadth of Ireland singing & collecting songs. Their early live performances exuded a raw energy and their first five track EP - 2019’s A Mouthful of The Mary Wallopers - perfectly captured their sound and ethos, one filled with warmth, intimacy, chaos and enough sparks ready to light any fire. The band recently expanded to a seven piece for live performances.

 Love And Rockets are the seminal groundbreaking trio of
Daniel Ash (vocals and guitar), David J (vocals and bass)
and Kevin Haskins (drums). They formed in 1985 after the
first split of their band, Bauhaus. Love and Rockets
provided a clean slate and an opportunity to plumb the
depths of imagination and influences.

 ‘Express’ is a unique, mystical and transcendental
travelogue of sorts. The original press release for the
album said that “the balance of light and dark, positive and
negative, yin and yang, is a recurring theme.” In 2020,
NPR, referring to the album, stated that their “psychedelic
train ride laid the foundation for alt-rock.” This is a single
black LP with a standard sleeve

Welcome to the Parish. Come, gather round dear lambs, as today’s sermon is about to begin. Crypt of the Wizard proudly presents the highly anticipated debut LP from pastoral proto-metal power trio Parish, available to pre-order on vinyl now. The two years since the release of their EP God's Right Hand have proved to be no fallow period for the band, who used the time to write and hone the 10 songs laid out on their self-titled debut. They returned to the majestic Holy Mountain to record the album. Making use of the studio's bumper crop of vintage equipment, Parish were able to unearth a sound that draws on the roots of heavy metal. The band's lyrics continue to revel in notions of the pastoral. Themes concerning the works of witches and the changing of the seasons are explored with economic and elegant storytelling. Songs of villagers besieged by strange travellers and poor wretches locked away in gaol conjure up a feeling of uncanny dread. Elsewhere, other songs suggest a sacerdotal attitude towards the earth and those who walk it. Parish stir up sweet memories of those subtle moments of perfection found deep in the discographies of heavy metal’s historic luminaries. Their sound reaches into places previously ventured by the likes of Wishbone Ash, Pagan Altar and Budgie, as well as folk revivalists Fairport Convention - a less obvious resource for heaviness, but a fine repository for musical depth. With any luck, Parish will in time join the aforementioned bands whose records will be played on repeat, locked in the unchangeable hearts of those unbothered by novelty and changes in musical fashions. Now our sermon has come to a close, peace be with you, and go forth in glory.

Check point Catherine

“In the afternoon we performed in a rather austere theatre in East Berlin. Then I remember we crossed Checkpoint Charlie that evening to play in a club in West Berlin. The atmosphere was completely different. I felt as though we were living in a black and white spy movie.” Nicolas Fiszman recalls that chaotic day of 13 June 1982. Two outstanding guitarists, Philip Catherine and Nicolas Fiszman, who at the time was only seventeen years old, were taken from one side of Berlin to the other in pouring rain to perform to unlikely audiences. At both concerts, they played the same programme of seven pieces written by Philip, with the exception of “Crystal Bells”, composed by Charlie Mariano. The pair were not master and student. Rather, Philip remembers Nicolas like a young brother he might have taken to the beach. After the 1960s, Philip became a major figure on the jazz scene, working with the greatest: Charles Mingus, Chet Baker, Stéphane Grapelli, Dexter Gordon, to name only a few. Nicolas has played with Charles Aznavour, Vanessa Paradis, Francis Cabrel and Eric Serra, and travels the world with Sting.

On that gloomy afternoon, the two guitarists, alone on stage, decided to brighten up the morosity that reigned. The pieces they played bore titles such as “Janet”, “Babel” and “Petit Nicolas”. It is hard to believe that this varied, well-constructed, polyphonic music was not entirely written down on paper. Philip says, “Nothing is written from beginning to end. I compose the themes and some harmonic bridges. Then we have a chord chart … and that’s it.” The foundations are written; inspiration, taste, fantasy and friendship do the rest. We feel as though we are taking a nonchalant walk through Rio or Miami. The concert is punctuated by thunderous applause.

For these brief minutes in that year 1982, the East Berliners were able to fly over their tightly closed borders.

We are privileged to have unearthed this unique concert where two outstanding artists bring together two cultures to create an intense blaze of happiness.

Philip Catherine, Guitar
Nicolas Fiszman, Guitar & Bass
With the kind authorization of the Artists

Over the last decade-and-a-half, C Joynes has ploughed a singular furrow through solo guitar, with a body of work incorporating English folk-tunes alongside North & West African music, and lifting proto-minimalist and improvised techniques from the European classical and avant-garde traditions.

His new release, ‘Poor Boy On The Wire’, is his first full album dedicated wholly to the electric guitar. Through a typically wide-ranging set, Joynes exploits the instrument’s potential by placing intricate parlour music alongside overdriven garage blues throw-downs, wiry electric folk and the brittle ringing tones of free improvisation. However, these explorations of the tones and timbres of close-mic’d guitars and amplification retain an overall coherence and unity through the deliberate use of a limited palette of budget instruments and vintage equipment.

With ‘Poor Boy On The Wire’, Joynes has released 9 albums to date, including ‘The Borametz Tree’ (2019), recorded with long-term fellow travellers Dead Rat Orchestra, and ‘The Wild Wild Berry’, a collaboration with singer Stephanie Hladowski (MOJO Top 5 Folk Albums 2012, fROOTS Editors Choice Album Of The Year 2012). He has played extensively across the UK, Europe and the USA, sharing bills with performers including: Shirley Collins, Martin Carthy, A Hawk And A Hacksaw, Marc Ribot, Alasdair Roberts, Richard Dawson, Jack Rose, Josephine Foster, Sir Richard Bishop, Six Organs Of Admittance and 75 Dollar Bill.

“As much Conlon Nancarrow and Ali Farka Toure as Blind Lemon Jefferson, the compositional mind at work here can take apparently disparate threads of modernism and ethnic tradition and treat them as though they were all archaic blues styles learnt from dusty 78s.”
BRUCE RUSSELL, THE WIRE

“An inheritor to Davy Graham; a lone operator prone to unexpected collaborations, with a repertoire that crosses continents and timezones with consummate ease, and dashed off with a phenomenal, yet lightly applied technique.”
ROB YOUNG, THE WIRE

“His epigrammatic re-castings and re-readings of widely-travelled folk melodies and rhythms from a variety of traditions suggest shared memories that might be intensely universal while seeming strangely out of reach.”
KEVIN MACNEIL BROWN, DUSTED MAGAZINE

"Circus has always had some kind of presence in my life. My grandmother grew up within a travelling circus in Denmark many years ago and a cousin of mine reputedly ran away with another travelling circus in Ibiza for a while in the 80s. Some years ago my mother sent me a few faded black and white photos of my grandmother dressed up for performance and they are amazing. There are apparently many more photos but they've been handed to a circus museum in Denmark. Perhaps some day, if I dare to, I'll go and visit... In the meantime, I give you The Circus Hunter: The soundtrack to an 80s horror circus flick that perhaps could have been. I hope you will enjoy its breezy upbeat fun as well as its dark sides." Martin Jensen (The Home Current). Martin Jensen is a Danish born, Luxembourg dwelling electronic musician. He has several previous releases across several labels including Castles In Space, Polytechnic Youth, Woodford Halse

In an age where most contemporary bluesmen strive to mimic the past and pattern their music after the greats, Keb' Mo' is content to be himself. Original, charismatic, and immensely gifted, the guitarist/vocalist (born Kevin Moore) brings country blues in the late 20th century on his stunning self-titled Epic debut, which quickly climbed the charts and turned the former backing instrumentalist into a household name. Replete with gritty textures, close-up vocals, and resplendent acoustics, Mobile Fidelity's scintillating version of this 1994 set finally possesses the fidelity that brings Mo's Delta strains out of the backwoods and onto a lively back porch.

Half-speed mastered from the original tapes, this numbered edition 180g LP represents the very first time that Mo's watershed album has been given a much-needed sonic facelift. Gone are the hazes that obscured his singing, artificial ceilings that blunted the highs, and digital fog that interfered with the multitude of illuminating tones, details, and notes. What's revealed is startling intimacy and soothing emotion, Mo's gorgeous vocal timbres and inflections given equal space with his guitar, harmonica, and pace. Finally, a great-sounding contemporary blues record that doesn't resort to derivative recycling and bland revivalism.

The son of Southern parents, Mo' channels his heritage via a batch of superb folksy songs that relax, refresh, and regale. While he's since traveled in a more commercialized pop-oriented direction, Mo's initial salvo is nothing but raw, pure blues played with unbridled passion, tremendous conviction, and what is best deemed the essence of heart and soul. Keb' Mo' engages with a compelling mix of tradition and modernity, the headliner refraining from any attempt at assuming an artificial personality and instead basing his reputation on quality songs. As such, Mo's material resonates with deep, mellow vibes and extraordinary National steel guitar work, which complements his fluid, acoustic finger-picking and soulful strumming.

Mo' occasionally teams with an ensemble. But this record is mostly all about the basics: guitar, voice, and harmonica. Tunes such as "Victims of Comfort" and "Angelina" testify on behalf of his phenomenal country-blues songwriting; his covers of Robert Johnson's "Come On In My Kitchen" and "Kindhearted Woman Blues" speak to his reverence for the past. Shuffles, ballads, dance songs – Mo nails them all.

Keb' Mo' remains one of the finest blues albums made in the post-Stevie Ray Vaughan era. Don't miss this American gem that so many have since tried to copy.

Written and recorded between 1972 and 1982 in Western Oregon, Back to the Woodlands is a previously unreleased, and nearly lost, album made by Ernest Hood during the same era as his near mythical album Neighborhoods . A visionary combination of field recordings, zithers, and synthesizers, Back to the Woodlands offers an unprecedented depth of access to this singular artistic mind. Born into a musical family, Ernest Hood began a promising career as a jazz guitarist during the 1940s, touring internationally with his brother Bill Hood and the saxophonist Charlie Barnet , before contracting polio in his late twenties. The disease left Ernest unable to play the guitar and confined him to a wheelchair for the rest of his life. It also forced him to adapt and innovate around his musical practices in the face of adversity; Hood's value of sound matured with a remarkably democratic and nonhierarchical approach and application. Taking up the zither, a less physically-demanding stringed instrument to the guitar, embarking upon the unprecedented process of incorporating field recordings into his work as early as 1956, and eventually discovering the synthesizer, Hood's music became imbued with optimism and subtle cultural critique. This ethos and technique - refined over the coming decades - would lay the groundwork for a sprawling body of radio work, mail order recordings for homebound listeners, and Neighborhoods , self- issued as a small vinyl edition in 1975. Where Neighborhoods , a nostalgic opus, drawing from a well of collective memory of the 1950s, is defined by traces of human activity, Back to the Woodlands leaves the modern world behind, delving into Hood's love for nature. Only recently discovered in his archives, the album dramatically expands his concept of "musical cinematography," imagistically triggering states of sensory memory from within its zither and synthesizer melodies, intertwined with field recordings made during Hood's extensive travels throughout Oregon. If Neighborhoods is a retreat into the gauzy joys of a romanticized past, Back to the Woodlands is an immersion in the timeless sanctuary of the natural world. A fascinating counterpoint to its predecessor, Back to the Woodlands brings us even closer to Hood's belief in the transportive qualities of sound; that field recordings could serve as a vehicle for the imagination and liberation, particularly for those with similar mobile disabilities as his own. Across the album's twelve compositions, the rippling instrumental harmonics - shifting between abstraction and playful melody - fold so seamlessly into the birdsong, bubbling brooks, and other environmental ambiences, that they often give the impression of having been recording within the landscapes toward which they whisper. Falling somewhere between the immersive calm of healing music and New Age, the creative field recording practices of sound ecologists world building for Folkways, and the jazz infected ambiences during Obscure / Editions EG's highest heights, Back to the Woodlands sculpts an singular proximity of music for its moment; a form of ambient sonic realism that draws the consciousness toward its surroundings as much as within. Working closely with his estate to maintain his original vision, Freedom to Spend has restored and remastered this never before released, lost masterpiece by Ernest Hood from the original tapes. Ernest Hood's Back to the Woodlands will be issued on vinyl, as well as on CD in combination with its contemporary Where the Woods Begin , with new liner notes by Michael Klausman . On behalf of Ernest Hood and Freedom To Spend, a portion of the proceeds from this release will benefit Oregon Wild, an organization dedicated to protecting and restoring Oregon's wildlands, wildlife, and waters as an enduring legacy for future generations.

"Matasuna Records" musical journey takes the listener this time to "Panama" - a country in Central America, which offers a rich and breath-taking variety of musical treasures. In a first reissue, two songs from the legendary "Loyola Records" label were selected, both released in 1969: one by "Camilo Azuquita" and one by the group "Panama Brass". Two super-rare tunes that fetch crazy prices, if you're lucky enough to find a copy at all. Available for the first time as an official remastered reissue on 7inch vinyl - the song by Panama Brass even makes its 7inch premiere. Don't sleep on it!

The A-side features the killer boogaloo tune "Borombon" by "Camilo Azuquita". Its take of the song composed by "Javier Vasquez" is undoubtedly the best version of this song. The striking piano, driving bass and rich horns are fueled by percussive accompaniment and especially by Azuquita's powerful voice. A terrific song that has also recently gained new notoriety in movies and series - such as "Better Call Saul".

The B-side features the instrumental Latin Jazz/Guaracha tune "Con La Mano En La Biblia" by "Panama Brass" - an orchestra led by the excellent organist "Cristobal Munoz Jr." and consisting of Panama's best musicians. A no less energetic and furious song composed by "G. Garcias". The musicians of the orchestra combine a great musicality and diversity in the song, delivering a special delicacy.

"Camilo Luis Argumédez" is a singer and composer born in "Colon (Panama)" on February 18th 1945. He became world famous under his stage name Camilo Azuquita. He began his career at a young age, when he participated in various competitions organized by local radio stations. He left Panama for the first time for an engagement in "Lima (Peru)" - the prelude tocountlesstrips.

After returning to Panama, another engagement in 1966 took him to "Puerto Rico", where he also recorded music. Due to a tour he was involved in, he ended up in "New York City" where he made new & fruitful acquaintances with other artists that resulted in some more recordings.

In 1968 he returned again to Puerto Rico, where he joined a band to record an album. In the following years, tours and concerts followed, as well as an engagement in a club where he musically accompanied many stars of Latin American music.

Between 1972 and 1976 he spent four years in "Los Angeles", where he performed in night clubs, recorded two albums and toured California with his own band "Melao". In LA, through a brother of the "Fania" boss, he got a contract with "Vaya Records", a subsidiary of the Fania label, which brought him back to New York City in 1976. There he joined the band "Tipica'73" and their two following albums brought him much success.

A tour led him to "Paris", where he met the journalist "Pierre Goldman". A proposed project became reality two years later: Azuquita opened the first Parisian Salsa Club. As this became a complete success and the audience filled the club on each of the evenings, a first engagement of one month was extended to several years. In France, he performed at the world-famous "Olympia Theater "or played at the "Old Bourget airport", opening for a live concert by reggae legend "Bob Marley" in front of 75,000 people. From France, he traveled throughout Europe, where the performances in front of European audiences brought him enormous prestige.

From 1985 to 1987, "Azuquita y su Melao" toured extensively in "California", where he signed a 1-year contract at "Club Candilejas" in "Hollywood" in 1988. In the following decades, he recorded many more albums - in NYC, Cali (Colombia), France or Havana (Cuba), among others. In addition, he was still very active on tours, festivals and concerts around the globe. An extremely remarkable artist, whose activity has brought him to the top.

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"Panama Brass" was an orchestra directed and orchestrated by the excellent organist "Cristobal Munoz Jr." The orchestra consisted of one of the best musicians of Panama at that time. Munoz was an exclusive artist of "Loyola Records" at the time and was considered a promising or up-and-coming conductor. That this album could be realized at all had only been possible thanks to Hubert J. Pretto. Pretto, then Assistant Vice President & General Manager of "Coca Cola Panama" arranged the funds necessary for the realization of this album and supported the campaign to promote music culture in Panama. This album would remain the only one released by this group.

New Studio Album after long 8 years! Produced by Jack Endino in Chile and Mastered by Tony Cousins (The Verve, The Stone Roses) at Metropolis Studios U.K, Lacquer cut by Richard Simpson (Beck, Flamin’ Groovies, Lou Reed). After 8 long years The Ganjas returns with a new studio album, a joint production between Jack Endino and the band. Like the 2012 album ‘Resistance’, this LP combines sounds and styles that have marked the band since its inception; long space rock songs, neo grunge guitars, Manchester-reggae rhythms, and ballads with R&B vocal harmonies. For fans of: Sundial, Keith Richards, The Stone Roses, Swervedriver
A job that very well summarizes the more than 20 years of uninterrupted career. After the compilation album ́Ghost River ́ (2015) and having finished the European tour in September of the same year, the drummer changed, the long-lived founder Aldo Benincasa left and Nes entered, who had already replaced him on a couple of occasions. In March 2017 they embark on a trip to El Médano a mountain refuge that is on the border between Chile and Argentina, and in there for several days they shaped the songs that gave life to this album. Then, in 2018, Jack Endino, an old acquaintance of the group, travels from Seattle to Santiago to record 10 songs with different nuances and colors, lyrics in English and Spanish, radio cuts and long durations, rock, groovy and power ballads, at Estudios Lautaro. The album has songs like ‘America’ and ‘Ex-Pilot’ an opening and closing of almost 10 minutes in a cadenced and hypnotic groovy march, spatial and psychedelic in the purest style of The Verve's A Northern Soul album. While ‘Space Trees’ and ‘10.000 Años’ are short, powerful, fast and acid songs with the grunge and alternative rock stamp that sounded in the 90's, nothing to envy to Sundial and Swervedriver. There is room for Manchester-reggae moments in ‘New Berlin’, an instrumental dance song that was born in that city thanks to the collaboration with Andrés Bucci and ‘Listen To The Lion’, a trippy and deep Dub-Reggae cut. R&B ballads have always been part of the group's work and on this album they stand out with ‘Generation’, the title that gives the album its name, with a sound reminiscent of Keith Richards solo songs and the emotional nirvana-esque ‘Far Along The Way’. The mix was carried out in 2019 between Seattle and Santiago de Chile, during upheaval and social protests as a result of the October outbreak and was mastered in 2020 at the Metropolis studios in the U.K. by Tony Cousins, an engineer who had already worked with The Verve and The Stone Roses, influences recognized by The Ganjas. Due to the pandemic the release was postponed to the end of 2022. For the likes of: Sundial, Keith Richards, The Stone Roses, Swervedriver. Genre: Alternative / Indie

Florence Cats is a poet, visual artist, sound composer, performer and acupuncturist. Born in Vilvoorde (Belgium) in 1985, she is currently living and working where Brussels merges with the Sonian forest.

Florence Cats’ working process involves things about to appear or disappear, and echo one another : air, light, wind, tone, print, voice, water, color, dust, junk, rumor… She creates eclectic pieces related to travel, porosity, natural energies and celestial events. Each proposal is in tune to a context, a space, an environment.

Ys is a generous debut. Raw, courageous.

Sunken Cathedral is Florence interpreting Claude Debussy’s La Cathédrale Engloutie (trans. the Sunken Cathedral). The track reminds me of one of those fabled Charles Ives home recordings. Where he records himself on Speak-O-Phone - an old brand of recordable aluminium phonograph discs - while practicing and composing his music. But unlike Charles Ives treating these home recordings as personal sketches, Florence Cats shares her captured moments as compositions for the public.

Similar to the Speak-O-Phone recordings, we now meet the piano as a physical expression - not as an archetype. We are together with Florence in a room. The pedal. The keys. The hiss of the room. Learn, repeat.

Trough Florence’s hands and feet, La Cathédrale Engloutie is brought out of its pupa stage to become a presence. Instead of being grounded in luxurious concert halls or on high end recordings, the piece is now natural. Sunken Cathedral is a template, an affirmation for amateurs.

The piece was originally created for the group exhibition "Here Comes the Wave” at Project(ion) room, Brussels, February 2020.

In Fall Call, we find ourselves at QO2, a sound art initiative in Brussels. This piece was captured during a residency Florence took over the summer of 2022. We listen to the moment when a summer storm just washed the city.

Fall Call is a testament to Florence’s magical - humanistic way of playing her custom-made theremin. By pushing the controls of the instruments so high, her whole body starts to control the instrument - instead of just her hands. So when she walks around in the room, the instrument answers in full color.

And then, a phone-call. Giving it a bit of a Poulenc vibe.

For the last piece, Drop Out, we find ourselves in Florence’s apartment. When Florence opens the windows, the ambience of the surrounding Sonian Forest seeps in. This is an adorable moment. It predicts new beginnings. The smell of wet dirt and dripping leaves in the air. The poetry of rain.

"I was 27 when this album came out, LA was a whole different animal. I was going back and forth from NY to LA, touring a lot and trying to make progress for me and my close friends and family.

Oct 1 2002 seems like it was yesterday... The day we released the album, I got a call from Nas, completely caught me off guard. He complemented me on the writing of “Release Date” the first track on the album. Those are some of the moments I think of when I reminisce about dropping this project. It was such a turning point in my life, I was coming off of a huge push with “Restless” and the follow up had to be a smash, at the same time I was still finding my standing as a man, a young father, and an artist. It was always my dream to work with the people I’ve now been able to work with and I can listen to this album and remember exactly where I was and who I was with, it’s like time travel.

Fast forward 20 years later and I am thrilled to be able to share this body of work with you and more generations to come.

Thank you for rockin' with me for all this time.
Enjoy the 20th Anniversary Edition of MAN VS MACHINE,

From its dramatic intro, "Release Date," to the thundering West Coast march "Enemies," Xzibit's fourth and mythical album, Man vs. Machine produced by no less than Dr Dre, spent a total of 19 weeks on the "Billboard" 200 chart and was certified gold only a month after its release with over 500,000 copies sold.

The legendary album that features a heavyweight cast of featurings with the likes of Snoop Dogg, Eminem, M.O.P, Nate Dogg, DJ Premier and Dr Dre himself is now available for the first time since its original release, to celebrate its 20th anniversary!

















[q] D3. My Life, My World [Bonus Track]
[r] D4. What a Mess [Bonus Track]
[s] D5. (Hit U) Where It Hurts [Bonus Track]

Recorded both in Spain and Finland, the 13-track album Myriadi documents Tatu Rönkkö and Raúl Pastor Medall's first standalone collaboration, entirely created, performed and mixed by the pair. With Myriadi, the two artists walk listeners into a world that somehow manages to feel ancient and modern at the same time. It is peaceful and dreamy but also raw, solemn and unsettling. Tatu's improvisational, crude and almost ritualistic sonic approach blends in seamlessly with Raúl's more melodic and melancholic schemes of composition. With its simplicity and clarity, Myriadi belongs in the realms of dark ambient and drone as much as it belongs to a tradition of minimal acoustic music. Myriadi embraces loose ends, harmonic freedom and even atonality; regardless of whether it involves the sound of glass-blowing water bottles, a small Finnish harp, bell-like sounding metal plates or piano strings played with paint brushes and sticks, the overall improv-based character of the project gives Myriadi a primal, unpredictable and meditative feel. This spontaneous study of form and timbre has room for bold rhythmic pieces played with a drum set consisting of six floor toms, but also for hypnotic chants of granular flute-like sounds and spoken word poetry (featuring voices by Raúl and Tatu's moms). The spontaneity and lack of premeditation that permeate through Myriadi paradoxically reinforce the cohesiveness of the record, reminding us that sometimes creativity really benefits from avoiding too much analysis and overthinking. Rauelsson (Raúl Pastor Medall's musical moniker) and Tatu Rönkkö met in 2015 through common friends. They both have released music on the Berlin-based label Sonic Pieces and have collaborated on stage and in the studio on a number of occasions. Tatu appeared as a guest musician on Rauelsson's Mirall (2018) and contributed significantly on some film and TV projects that Raúl has worked on for the last couple of years. For the recording sessions of the dystopian TV Series Anna (2021) Tatu travelled to Spain where they explored countless rhythmic ideas with relatively untraditional instrumentation. These free and relaxed creative meetings led to other recording sessions completely unconnected to any scoring project, planting the seed for what Myriadi would become. RIYL: Ben Salisbury and Geoff Barrow, Alva Noto and Ryuichi Sakamoto, Jefre Cantu-Ledesma, Rafael Anton Irisarri, Brian Eno TRACKLIST: A1 Rombo A2 Vidre A3 T A4 Keinu A5 Ryminä A6 Ö B1 K B2 Silta B3 Golondrina B4 U B5 Kuvakudos B6 Pont B7 Muinoin

Bongos, bouzouki and Farfisa organ galore ! The explosive cocktail of rock'n'roll and traditional Tsifteteli hailing from 1960's Greece is still alive thanks to Deli Teli : the Marseille-based quartet performs a string of forgotten hits that once set Athens on fire, with a contagious energy and a subtle dose of Mediterranean drama.

Half a century ago, while French seasiders would dance to « Yéyé » sounds and dig the Beatles or Pink Floyd, a whole other scene was happening further along the coastline. Notably, Greek artists were a huge influence beyond the Mediterranean cradle ; Aris San's version of « Boum Pam » (a.k.a. « Bros Gremos Kai Piso Rema »), brilliantly interpreted by Deli Teli on this record, was a n°1 hit from Southern Europe to the tip of India ! Far from being an exclusive Greek sound, Tsifteteli music has travelled through borders for centuries and means « double string » in Turkish. In the 1960's, it mixed with rock'n'roll, surf and Latin-american influences, and gave birth to the typical « Laïko » sound.

With their powerful electric bouzouki (Greek lute) and the distinctive sound of the Farfisa organ, Deli Teli have carved their style while digging through the incredible goldmine of the late 60's and early 70's Tsifteteli/Laïko singles. The 4 musicians met in 2019 with a burning desire to dive into electric sensations – bassist Christos Karypidis used to play oud and keyboardist Arthur Bacon played accordion in most of his former projects – and made the most of 2020's « lockdowns » by building their repertoire and thinking up Deli Teli.

On this mini-album, they also interpret Koko's « Chily Chily », a groovy belly-dance mover ; « Ekso Dertia Kai Kaïmi », an intoxicating and frenetic floor shaker ; « Tsiftetelli 1969 », a cool organ-lead surfing instrumental ; and 2 slightly freer and more psychedelic numbers, « Taksim Deli » (improvisation) and « Bournelis », a creative re-arrangement of 2 tracks by Leonardos Bournelis.

Deli Teli preach a collective, sensual and solar hip-wiggling across the continents and beyond ; they are ready to shake our minds and bodies until we all gel together... Join the « Tsifteteli Club » now !

Brad P, Producer from UK/US, delivers a nice selection of Deep Techno and Future Jazz on the swiss label Moto Music. Besides DJing and producing Techno Music he also runs the label Inner Shift Music and Common Dreams together with Rai Scott