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Singer, actor and musician Farid El Atrache, born on October 19, 1910 in Soueïda, Syria, and died on December 26, 1974 in Beirut, Lebanon, is considered the greatest singer of the Arab world. A virtuoso of the oud, his timeless work, rich in hundreds of compositions, is recognized the world over. The present selection is devoted to the master's early works recorded in the 1930s-1940s. ----- Chanteur, acteur et musicien, Farid El Atrache né le 19 octobre 1910 à Soueïda en Syrie et mort le 26 décembre 1974 à Beyrouth au Liban est considéré comme le plus grand chanteur du monde arabe. Virtuose du oud, son oeuvre intemporelle riche de plusieurs centaines de compositions est reconnue dans le monde entier. La présente sélection est consacrée aux premières oeuvres du maître enregistrées dans les années 1930-1940.
"Indépendance Cha Cha” was an historic song, not only because it immortalized Congo’s independence in its lyrics, but also because it was the first single published by a Congolese-owned record label. Joseph Kabasele’s label Surboum African Jazz indeed paved the way for several Congolese musicians to become record publishers. It resulted in the 1960s in a plethora of newly found Kinshasa-based record labels, run by the biggest musicians of the time.
With this new series “Les éditeurs congolais”, Planet Ilunga aims to honour and highlight the phonographic and entrepreneurial work of those first Congolese record label bosses. We kick off with a compilation of one of the most significant labels, Les Editions Populaires. This label, founded by Franco Luambo Makiadi in 1968 after he first co-founded with Vicky Longomba the labels Epanza Makita (+/- 117 singles) and Boma Bango (+/- 50 singles) and after starting his first short-lived label Likembe (+/- 5 singles), ran until 1982 and was mostly dedicated to the output of OK Jazz (later TPOK Jazz).
This compilation brings together an original selection of 16 tracks from the first three years of Les Editions Populaires. They are a showcase of the sound Franco had envisioned for his band. The focus was less on cha-cha-cha and Spanish lyrics, but on lingering rumba and bolero ballads in Lingala, tradition-rooted songs in Kikongo, Kimongo and even Yoruba, collaborations with Ngoma artists Camille Feruzi and Manuel d’Oliveira and not to forget solid pastiches of American funk, which were showing that the OK Jazz musicians had an open-minded view on music and were capable of excelling in many genres. Mama Na Ngai indeed!
Varg2™ reunites with the elusive Chatline for ASMR for Suicidal Thoughts, a two-track document recorded live to tape in Västra Skogen, Sweden 2023–2024 for Northern Electronics.
The music is stark and undistracted — locked into a narrow frame where tension is not resolved, softened, or defused. Instead it lingers as a permanent condition. The pair allow little variation, forcing a confrontation with stillness, bleak repetition, and uncomfortably intimate flashes of sensation that never fully surface.
Noise becomes a brittle membrane rather than a wall, punctured by funereal melodic fragments that appear momentarily before being swallowed again. The atmosphere is saturated, airless, and unyielding — a sealed environment where the listener is held rather than guided.
The result is a stripped-back work of pressure, frost, and suspended time — not a “journey” or a narrative, but a fixed state of dread and charged quiet, captured with unnerving specificity.
Introducing the 1st Volume of Super Biton of Segou’s Afro.Jazz.Folk collection, led by Malian conductor Amadou Bah, also known as “The Armstrong Malian”. Mieruba is thrilled to present this collaboration with Deviation Records, showcasing the diverse musical roots of 1970s Mali, combining Afro-Latin percussion, Mandingo songs, jazzy brass, and funky guitar. . . The Super Biton orchestra has been around since the 60s. Like Ségou, the Super Biton orchestra has always set itself apart from what was being done in Bamako and other major African cities. Ségou is a crossroads between the Bambara, Peul, Mandingo and Somono cultures, and Super Biton has drawn on all these traditions to create a repertoire that is extremely rich in rhythms and lyrics. The Ségou orchestra developed and integrated amplified instruments that mingled with brass instruments, in particular electric guitars, symbols of modernity at the time. It opened up to Cuban music, with congas and bongos completing the orchestra's sound, as some of the musicians had completed their training in Cuba. The group developed a unique sound, a perfect balance between tradition and modernity, thanks to its modern, sophisticated compositions. As a result, Super Biton triumphed at the 1972, 1974 and 1976 National Biennials and has become the best-known and most sought-after Malian orchestra outside the country's borders. Afro Jazz Folk Collection presents previously unreleased tracks by the legendary orchestra that have been confided to Mieruba by members of the orchestra in order to bring them back into the limelight.
Taking influence from 1960's Thai funk - their name literally translates to "Engine Fly" in Thai - Khruangbin’s debut album ‘The Universe Smiles Upon You’ is steeped in the bass heavy, psychedelic sound of their inspiration, Tarantino soundtracks and surf-rock cool. The Texan trio is formed of Laura Lee on bass, Mark Speer on guitar, and Donald “DJ” Johnson on drums.
‘The Universe Smiles Upon You’ was recorded at their spiritual home, a remote barn deep in the Texas countryside where their first rehearsals took place. The band listened to a lot of different types of music on the long drives out to the country but their favourites were 60s and 70s Thai cassettes gleaned from the cult Monrakplengthai blog and compilations of southeast Asian pop, rock and funk. This had a heavy impact on the direction of the band, the scales they used and the inflection of the melodies; which coupled with the spaciousness of the Texan countryside culminated in Khruangbin forming their exotic, individual sound.
Although the band was conceived as an instrumental outfit, ‘The Universe Smiles Upon You’ features the first Khruangbin recordings with vocals. Tracks ‘People Everywhere (Still Alive)’, ‘Balls and Pins’ and recent single ‘White Gloves’ show a new dimension to the band.
“We never really thought of ourselves as having a “singer” but we knew that we wanted a voice for Khruangbin. We decided to write about something close to us, tell a story as simply as possible, and sing it together.”
The seeds of Khruangbin were sown when Mark and Laura were invited to tour with Ninja Tune's YPPAH supporting Bonobo across his 2010 American tour. The tour galvanised the two of them to start making music together more seriously, with DJ - he and Mark have played in the same gospel band for years - the natural choice for drums.
Sharing their first recordings, Bonobo included Khruangbin's ‘A Calf Born In Winter’ on his 2013 Late Night Tales compilation. Subsequently signed to Late Night Tales offshoot Night Time Stories, ‘A Calf Born In Winter’ was released as a single in May 2014, four track EP ‘The Infamous Bill’ followed in October, with covers EP ‘History Of Flight’ on Record Store Day 2015.
“We feel like there is an ease that comes from being immersed in a space, away from the distractions of the city and everyday life. We make our music in a barn, in the Texas hill country, because it makes sense to us. Being there allows us to make music that comes naturally, and that’s what we wanted this album to be. We wanted to make a record that just let the music happen, and we hope that’s what you can hear.”
Blawan releases his long-awaited debut XL Recordings album, SickElixir. Crafted between Berlin, Leeds, Paris, and Lisbon, the 14-track record is his most personal work to date; a manifesto for the way he sees
music and himself. Channeling grief, family trauma, and seismic life shifts, SickElixir expands on the sounds of his recent EPs - BouQ, Dismantled Into Juice, and Woke Up Right Handed - plunging listeners into a
chaotic yet meticulous sonic world that reflects on the past while projecting a bold vision for the future.
Jamie Roberts has been revered in electronic circles for years as an artist with a fastidious approach to creating his own sound, relentlessly drawing from his teenage influences growing up in Barnsley, a post-
industrial town in South Yorkshire. At 14, he started working on a maggot farm and credits the clanging sound of the farm’s industrial mincer as an early influence on his music. After playing in various metal bands,
Roberts’ musical horizons began to expand through visits to the West Indian Centre in Leeds, where he was introduced to the full spectrum of electronic music. He first emerged as Blawan at the turn of the 2010s with
EPs on cult labels such as Hinge Finger and Hessle Audio, earning widespread critical acclaim. He’s consistently experimented, pushing boundaries in his solo projects while collaborating closely with British
producer Pariah on several projects – the live techno act Karenn, the metal-inspired band Persher, and the label Voam. SickExlixir marks the next step in solidifying his position as one of contemporary music's unique, pioneering artists, operating firmly in a lane of his own.
Glass Beams have announced their highly anticipated EP ‘Mahal’, out on March 22nd on their new label home Ninja Tune. Released alongside the news is the EP’s titular track “Mahal”.
The genesis for the Melbourne-based trio, which formed around founding member Rajan Silva, was through the rekindling of childhood memories relating to his father, who emigrated to Melbourne from India in the late 1970's. Silva recalled watching a DVD on repeat with his father; ‘Concert for George’, a star-studded tribute to late Beatles member George Harrison performed at London's Royal Albert Hall in 2002, featuring legendary Indian sitar player Ravi Shankar with daughter Anoushka, alongside Western icons Eric Clapton, Paul McCartney and ELO’s Jeff Lynne. This intersection of musical styles was reflected in the record collection of Silva's father, where the sounds of iconic Bollywood vocalists Asha Bhosle and the Mangeshkar lineage sat alongside music from blues legends like B.B. King and Muddy Waters. In particular, Silva was drawn to the fusion of Western musical styles and traditional Indian music; a concept pioneered by Indian artists like R.D. Burman, Ananda Shankar, and fraternal duo Kalyanji-Anandji.
This cross-pollination of East and West, of old and new, is a sentiment that the band have sought to capture in their self produced works. Across their output, Glass Beams presents a timeless fusion of cultures and sounds beamed through a prism of live instrumentation and DIY electronica, all wrapped up inside a mesmerizing and mystical visual world of their own making.
Their debut EP ‘Mirage’, released in 2021 catapulted them into the collective consciousness of new followers who came to discover their serpentine, psychedelic-tinged tracks through social media, streaming services and word of mouth, with the vinyl copies selling-out as quickly as it could be pressed via grassroots record store support.
In the wake of the unexpected success of their debut release and an abundance of festival invitations, Glass Beams were amplified around the globe performing hypnotic renditions of the 'Mirage' EP alongside an additional 20 minutes of unreleased music. Early clips of these “unreleased tracks” quickly began circulating online garnering millions of views and a fast-growing and ever-hungry following. As 2023 drew to a close and the dust settled after a whirlwind of touring, Glass Beams retreated to their home studio to record this much anticipated 20 minutes of music. They have named the record 'Mahal'.
Endlessness is a deep dive into the cycle of existence. The 45-minute album delicately spans 10 tracks with a continuous arpeggio playing throughout, creating an expansive, mesmerising celebration of life cycles and rebirth. Following Sinephro’s critically acclaimed 2021 debut album Space 1.8, Endlessness further elevates her as a transcendent and multi-dimensional composer, beautifully morphing jazz, orchestral, and electronic music.
The album was composed, produced, arranged, and engineered by Sinephro. Performing on the album are Sheila Maurice-Grey, Morgan Simpson, James Mollison, Lyle Barton, Nubya Garcia, Natcyet Wakili, and Dwayne Kilvington, joined by Orchestrate’s 21 string players.
how it thrills us, the bird's clear cry...
any cry that was always there.
children, playing in the open air,
children already go crying by
real cries. cry chance in. through crevasses
in that same space whereinto, as dreaming
men into dreams, the pure bird-cry passes
they drive their splintering wedge of screaming.
where are we? freer and freer, we gyre
only half up, kites breaking
loose, with our frills of laughter flaking
away in the wind. make the criers a choir,
singing god! that resurgently waking
may bear on its waters the head and the lyre.
The seven compositions on this album, written between 2022 and 2024, form a conceptual suite and an observance of the mental dances that we construct to understand acts of passage; the ways that we commune and memorialize and carry symbols back into the world beyond representation.
To this end, THE HEAD AS FORM'D IN THE CRIER'S CHOIR engages two references to the ancient Greek myth of Orpheus: Rainer Maria Rilke’s Sonnets to Orpheus, a collection of poems from 1922, and Claudio Monteverdi’s l’Orfeo, an early baroque opera from 1607. The myth of Orpheus tells the story of a musician who, grief stricken by the passing of his wife, Eurydice, descends to Hades to persuade the deity of the dead for her return. Along the way, Orpheus seduces those who would block his passage with the deeply lamenting music he conjures from his lyre. Hades agrees but with one condition: Orpheus is not to turn around and look at Eurydice until the pair once again breach the world of the living. Not surprisingly, as they approach the surface, Orpheus grows anxious and turns around to confirm Eurydice’s presence behind him, therein sending her back to the underworld forever. As the story goes, Orpheus then sings for death to take him away; with his wish finally granted by a group of maenads, Orpheus’ detached head and his lyre float down the river, continuing their mournful song.
For many years, I sought to largely separate my studio practice from my live performance practice, with the awareness that the unique limitations and possibilities of each domain were almost sacred to their individual characters. THE HEAD AS FORM'D IN THE CRIER'S CHOIR is a supplement of sorts to TWO SISTERS (2022) and ANTIPHONALS (2021), which were attempts to begin bridging this gap between the fixed electroacoustic pieces that emerge in the studio context and the somewhat open and slow-paced chamber writing that I do, in which each performance presents a new structure and in which each iteration offers the path to a new composition and deeper meaning. I am, as always, greatly indebted to the talented and incredibly sensitive musicians who appear on this album, many of whom are regular interpreters of my music: Andrew McIntosh (viola, Los Angeles), Mattie Barbier (trombone, Los Angeles), Lisa McGee (mezzo-soprano, Los Angeles), Pierre-Yves Martel (viola da gamba, Montréal), Eyvind Kang (viola d’amore, Los Angeles), and Rebecca Lane (bass flute, Berlin), Sam Dunscombe (bass clarinet, Berlin), Michiko Ogawa (bass clarinet, Berlin), M.O. Abbott (trombone, Berlin), and Weston Olencki (trombone, Berlin) of the Harmonic Space Orchestra (Winds). For my part, I again return to my favourite keyboard instruments on this album: Mellotron (in particular, the brass and woodwind samples that I so adore), electric organ (the Korg CX-3), synthesizer (the Prophet 5 and Korg PS-3100, which are both extremely useful in their tuning capabilities), and, of course, pipe organ.
There are four pipe organs featured on this album: a mechanical-action instrument built by Tamburini in 1968, located in the Basilica di Santa Maria dei Servi of Bologna, Italy; an electric-action instrument built by Veikko Virtanen in 1969, located in the Temppeliaukio Church of Helsinki, Finland; a meantone mechanical-action instrument built by John Brombaugh in 1981, located at Oberlin College’s Fairchild Chapel in Oberlin, Ohio, USA; and, a mechanical-action instrument built by Aristide Cavaillé-Coll in 1864, located in the Église du Gesù of Toulouse, France. The organ pieces on THE HEAD AS FORM'D IN THE CRIER'S CHOIR focus more heavily on the instruments’ pedals as well as the textural variations made possible by the mechanical tracker actions that most possess. The Brombaugh organ at Oberlin College offered a particularly meaningful compositional opportunity both in its use of the meantone temperament that was typical of the early seventeenth-century organ designs it’s based on, and in its use of split accidental keys, which accommodate for the lack of enharmonic equivalence in an extended meantone system. ‘Possente Spirto’ is a loose conceptual reference to the aria ‘Possente spirto, e formidabil nume’ in l’Orfeo. As in Monteverdi’s version, my piece also emphasizes the use of strings and brass and observes a particular order in which they enter and exit, and also incorporates a sort of continuo framework. I depart from there to focus on a slow-moving chord progression and its variations in voicing, inspired by renaissance concepts of harmony as a vertical structure, set within a standard quarter-comma meantone temperament. The piece employs the same structure that I use in most of my chamber writing, where each iteration of a performance is slightly different, calling on players to respond in real time and engage in a more direct form of listening. Several different colours of interval are heard throughout: the typical meantone minor third of 310 cents, the wolf minor third of 269 cents, the wolf fifth of 738 cents, and finally the standard meantone major third of 386 cents, which is one of a few intervals that this tuning system shares with just intonation. As with essentially all of THE HEAD AS FORM'D IN THE CRIER'S CHOIR, this piece is also quite variable in duration. ‘Trio for a Ground’ continues this feeling of partitioned instrumentation, with the organ providing the continuo throughout and the choir handing off to a duo of strings. In this recording, I chose to work with baroque strings – the viola da gamba and the viola d’amore, the latter of which incorporates a set of sympathetic strings that exist entirely for resonance. ‘Res Sub Rosa’ was composed specifically for a wind quintet formation of Berlin’s Harmonic Space Orchestra, and employs a system of septimal just intonation as well as a similarly variable structure that allows the players some discretion in how the piece is shaped at any given moment and which encourages different harmonic and acoustic encounters in each performance. ‘Constants’ functions as an electronic counterpoint to ‘Res Sub Rosa’, substituting human decisions with the natural interruption and decay cycles of sound-on-sound tape delay to achieve a similar sense of pacing and unpredictability.
- Sarah Davachi, 2024
Masahiro Sugaya, a Grammy-nominated composer whose works have been featured in the Japanese ambient compilation "Kankyo Ongaku" by the US label "Light In The Attic," has received remarkable acclaim from overseas in recent years. The world's first reissue and first LP of the stage music "Sea Zoo" (1988), created for a stage performance by Papa Tarahumara, a performing arts group to which Sugaya belonged at the time!
Masahiro Sugaya has been active as a composer since the early 80's, studying under eminent composers such as Shigeaki Saegusa, Joji Yuasa, and Teizo Matsumura, and also worked as an arranger for NHK Educational TV's "Diary of a Junior High School Student" and for the guitar duo "Gonchichi". This album was produced for the stage performance "Sea Zoo" by the performing arts group "Papa Tarahumara," for which he has worked as a composer since 1987, and was released only in CD format at the time. This album was released only in CD format at the time, and its tracks were included in the Grammy-nominated Japanese new age/ambient compilation "Kankyo Ongaku" by the US label Light In The Attic, and the compilation "Horizon Vol. 1" was released by the US label Empire of Signs, which also reissues leading Japanese ambient artists such as Hiroshi Yoshimura and Inoyama Yamaland. Although there have been reissues of single tracks, this is the world's first reissue of an album, and the first release in LP format! The album includes "Grains of Sand from the Sea" (M2), which is a mixture of delicate piano and soft electronic sounds from "Kankyo Ongaku", and "To the End of the World" (M7), which is full of floating feeling with minimalist soft sequences from "Horizon Vol. 1", This is a historical masterpiece that evokes the essence of Japanese ambient music, which has been reevaluated worldwide in recent years!
KAKUHAN haven't released much, but what's out there is some of the most astonishing hybrid electroacoustic music that's emerged in the last few years. Owing as much to Autechre as it does to Arthur Russell, it's dizzyingly psychedelic music that flits between wild free improvisation and obsessive, micro-edited precision, unclassifiable rhythmic and tonal experimentation that nods to the renaissance era and the contemporary dancefloor sometimes in the same breath. And in 2023, not long after the release of their now-classic debut album "Metal Zone", KAKUHAN were invited to perform live at Unsound in Kraków. The duo were offered the opportunity to collaborate with a local artist, so after serious consideration decided on percussionist and musicologist Adam Gołębiewski, a veteran improviser who's performed and recorded with everyone from Yoko Ono and Thurston Moore to Mats Gustafsson and Ken Vandermark.
Hino and Nakagawa were struck by Gołębiewski's unique tone and his very specific, immediately recognizable approach to drumming, realizing immediately that the collaboration would stretch their concept even further. "Personally, I was looking forward to hearing how Hino's rhythmic sequences and Adam's percussion would interact," says Nakagawa. But it's Gołębiewski's interaction with his cymbals particularly that bridges a gap in KAKUHAN's sound, existing in the space between Nakagawa's cello and Hino's stuttering samples. In fact, the performance was so successful that the trio headed to Kraków's KPD Studio shortly afterwards, dubbing an exclusive session with engineer Rafał Drewniany that would become "Repercussions". The session's vision is captured perfectly by the album cover, a painting from Polish artist Alicja Pakosz that shows a knife edge splitting a jet of water. It's the relative sharpness of Gołębiewski's sound that defines this project, cutting through Nakagawa and Hino's musical rituals and creating something new in the process.
Using a bow to extract eerie metallic resonances from his kit, Gołębiewski often sounds like another string player, punctuating Hino's exacting rolls and Nakagawa's blood-curdling pizzicato echoes with knife-edge squeals on opening track II. And when the flurries of beats vanish completely on VII, Gołębiewski and Nakagawa are left to create xenharmonic ambience with their scraped, atmospheric drones, letting Hino's low-end rumbles and boiled textures suggest a rhythm from the periphery. Nakagawa's cello practically sings on 'IV', sounding more like woodwind or bird calls than strings, and Gołębiewski acts as a cracked mirror, replying with uneasy scrapes and acrobatic rhythmic bursts that neatly augment Hino's complex electroid sequences. Not jazz exactly, it's hallucinatory expressionism that straddles the line between harmony and dissonance, control and chaos or human and computer.
Formed in 1968, Mauritania's National Orchestre was the official band of the post-colonial desert country. Led by the young Hadrami Ould Meidah and trained in Guineau Conakry under the guidance of the Bembeya Jazz, the Orchestre National was both musical group and idealogical symbol - sharing many of the aspirations of the young country. To the Mauritanian classical music, with its rigid and complex modal system, the group unabashedly added electric guitars and brass sections. Traditional epics were adapted with contemporary sounds. Multi-lingual compositions honored the diverse ethnic groups throughout the country. The life of the National Orchestra would parallel the events shaping the nation, lasting from 1968 to 1975 - shortly before the military coup which would spell not only the end of the Orchestra, but the end of a democracy. Recordings are hard to come by. Aside from the few copies of the 7" that still exist, no other commercial releases were ever made. The remaining legacy of the Orchestra consisting of live performances and radio broadcasts, was nearly destroyed during the coup d'etat of 1978. Under orders to burn any and all recordings related to the Daddah regime, the radio archive was looted by loyal military forces. During the chaos, one heroic radio engineer snuck into the archives and salvaged the reels of the music contained here which were sequestered in his home for the past decades. Working with Hadrami Ould Meidah, radio archivists, and former members of the band, these selections highlight some of the remaining recordings of the prolific L'Orchestre National de Mauritania.
Born on November 25, 1912, Asmahan, whose real name was Amal al-Atrash, was a Syrian singer and actress of the first half of the 20th century. Modern and free, she was the sister of Farid al-Atrash; and perhaps the only singer able to compete with the famous Oum Kalsoum. Her private and public life is worthy of a Hollywood movie and was particularly eventful during the Second World War, where she played spy for Germany, France and Great Britain. She died in 1944, at the age of 32, in a mysterious car accident, leaving only a few recordings. This record features her most popular titles, to be rediscovered by the music enthusiasts of today.
Originally self‑released in 1978 in an extremely small run and long regarded as a lost AOR gem, Craig Dove’s self‑titled album finally receives a long‑awaited vinyl reissue.
“IV Of Cups” by Thought Leadership is a sinking, immersive work built on heavy layers of guitar and deep 808 bass, where the shadows of post‑punk intersect with the soft, hazy glow of dream‑pop.
Laurel Halo returns with an album of original soundtrack music, composed for the film Midnight Zone by visual artist Julian Charrière. Following the path of a drifting Fresnel lighthouse lens as it descends through the Clarion-Clipperton Fracture Zone — a remote abyssal plain in the Pacific Ocean, rich in rare metals and increasingly targeted for deep-sea mining — the film traces a descent into one of Earth’s last untouched ecosystems.
Charrière’s film reveals the deep not as void, but as a luminous biome teeming with fragile life: bioluminescent creatures, swirling schools of fish, and elusive predators. The suspended lens becomes an abyssal campfire, attracting species caught in the tides of uncertainty, their futures hanging in the balance.
Echoing this tension, Halo’s compositions evoke a sensory freefall, where gravity falters and light and sound flicker in uncertain rhythms. Midnight Zone is a sonic drift through the space between what we seek to extract, fail to understand, and must protect.
Halo’s score evokes the life that exists beyond our physical airbound capacity. The material features long, subtle passages of electro-acoustic ambient, drone and sound design, slowly flowing and unfolding with rich detail. The music, composed largely on a Montage 8 synthesizer and Yamaha TransAcoustic piano at the Yamaha studios in New York City, possesses an uncanny quality: that of synthetic waveforms being amplified and sung through the stringboard of the physical body of the TransAcoustic piano. Combined with stacks of violin and viol da gamba, the music on Midnight Zone possesses trace elements of a human hand in an otherwise sunken landscape. Patient, submerged, and alive. The album will be the third on Halo’s imprint, Awe.
The film is central to Charrière’s current solo exhibition Midnight Zone. The exhibition engages with underwater ecologies, exploring the complexity of water as an elemental medium affected by anthropogenic degradation. Reflecting upon its flow and materiality, profundity and politics, its mundane and sacral dimensions, the solo show acts as a kaleidoscope, inviting us to dive dee
Master of Reality, the third album by Black Sabbath, which defined the very blueprint of heavy metal.
“The 180‑gram high‑quality reissue of Black Sabbath’s 1970 second album Paranoid.
‘Araya Lam’ is the 3rd album by The Paradise Bangkok Molam International Band. Following on from ‘21st Century Molam’ and ‘Planet Lam’ the band head deeper into the roots of Isan music, collaborating with others traditional musicians on Vocals, Pong-Lang, Pi and Sor. Each instrument brings something fresh to add to the group’s take on Molam music. In addition, the band nod to New York Post-Punk on ‘Zud Rang Ma’ and sounds from across the Indian ocean region on ‘Psych Lam Kor’. Looking back to their roots to move ever further forward ‘Araya lam’ is the next chapter in the always evolving Paradise Bangkok concept.
Street Druid merges acoustic, manipulated and electronic sound using saxophone, synth, voice, guitars & drum machine, and features drum kit from Mercury-nominated artist, Moses Boyd.
It features artwork by Byzantia Harlow. It is at once tender, psychedelic and fierce. It is not interested in genre or category. It lasts just under 45 minutes.
A prelude for the future, hands join to cast a peace spell. Consciousness is vast water seeking divine essence and meaning where colours merge and refract. The street druid walks through the night, a benevolence in the darkness, guiding you home. Immersed in noise, life can feel empty, like hollow vessels, a sentient interlude. At times we are found in Gaia's rhythm, kinetic and rebuilt, transcending through the impact of sound on the body. Every moment is a new change, a new challenge, a new life, we must ride the wave if we are not to be caught adrift or drown. Trying to keep hope intact, we must not retreat into fear, recognise we all live here in Longville and stop the fire before it engulfs us all.
