MUSIC

psalmist of longing i surrender to the sanctitude pour of a slicing of suns, the flood of the suns' un-skinning You begin from me just as i begin to end, i purify the spill of the blood of the forgotten. - St Agnis +++++ Recorded in Jamaica Queens, New York 2023-2024 Mastered by Dima Ibrahim

reissue of this impossible to find LP, 52 years after the Original !

This Record Store Day 2026, Strut proudly presents Nuclear War, a powerful collaboration between UK collective The Heliocentrics, Sun Ra Arkestra legends Marshall Allen and Knoel Scott, and vocalist Bilal - issued on limited-edition “hazardous” orange and yellow vinyl.

The Nuclear War recordings stem from a rare session at Malcolm Catto’s Quatermass Sound Lab in January 2015. The group had assembled in London to rehearse for their performance at Gilles Peterson’s Worldwide Awards, where Allen received the Lifetime Achievement Award and Catto the John Peel Award. With The Heliocentrics’ trademark raw, psychedelic energy as the backbone, the ensemble captured a series of reimagined Sun Ra classics in a spontaneous, one-off studio moment, and these tapes that have remained unheard in Catto’s archive until now.

The 4-track EP features a sinuous take on Ronnie Boykins’ ‘Angels And Demons At Play’ , originally recorded in 1960, a strident version of ‘Where Pathways Meet’ which was originally created for the much- loved Sun Ra Lanquidity album in 1978, and a dense and deep re- work of 1972’s ‘Astro Black’ featuring Bilal’s incredible otherworldly vocals. The title track ‘Nuclear War’ is re-worked into a cavernous groove featuring Heliocentrics vocalist Barbora Patkova.

dj echotree arrives on ZitStill with a singular artefact shaped by excavation and instinct. Built from fragments of found footage, spoken word and drifting jazz, the record unfolds as a seamless collage — guided by the steady pulse of the MPC and a commitment to human touch over polish. Emerging from noisy experiments and captured in a single twenty-four-hour immersion, the album carries the scent of spiritual jazz in the lineage of Sun Ra, grounded in lo-fi textures and presence. What remains is the lone preserved take: raw, immediate, and uncorrected. Pressed on one side only, the reverse is left blank save for a handwritten note from the artist — an intentional space that frames absence as part of the work. The sleeve artwork, assembled from roadside magazine cutouts, quietly reconfigures discarded images into something tactile and open-ended. This is less a product than an offering: a textured, gapless transmission best absorbed whole.

Recorded in 1983 by roots reggae’s young prodigy Hugh Mundell and quietly released around 1987, the long‑hard‑to‑find hidden gem Arise finally returns in an official remastered edition.

Recorded live at the Detroit Institute of Arts on July 20, 2025, A Tribute to Pharoah Sanders captures Detroit reed master Wendell Harrison and his ensemble TRIBE in a transcendent performance honoring Harrison’s longtime friend and fellow jazz icon. The concert—part of Detroit’s Concert of Colors festival and later broadcast on PBS—finds Harrison channeling Sanders’ spirit through deep tenor cries, hypnotic grooves, and Afro-spiritual improvisation. Joined by an exceptional group of musicians including Sky Covington, Pamela Wise, Michael Abbo, Sam Melkonian, Kevin Dalton Jones, Allen Denard, Edward Gooche, Stephen Grady, Roberto Warren, and special guests, Harrison leads an inspired exploration of sound and soul. This limited LP will be released on vinyl exclusively for Record Store Day 2026.

Spiritual flute jazz by the mastermind Antti Vauhkonen. Limited edition lathe-cut 10'', 20 copies exist. Cover art silkscreened on recycled cardboard-sleeves. Artwork by Arsi Keva. Mastered by Samuli Tanner. ”Wow where did this come from??!? Raw and essential outsider jazz which will be whispered about for years to come…” -Matti Nives / We Jazz Linernotes: ”On Working Alone The first person to create something one may classify as instrumental music was probably alone. The mind tingles when imagining the prehistoric moment when, for the very first time, a member of what then was the human race grabbed something and used it to make a purposeless series of sounds. Even if some of his fellow beings had been present at the time, would they have understood anything of it? Would they have taken interest in it and stopped to listen, or would they have demanded something easier to dance to? The leap from vocalizing or clapping to a form of expression produced with instruments may have taken a long time, perhaps even a thousand years. The same goes for the fabrication of such instruments. Human communities were small, and influences spread slowly. We do know, however, that the first discovered instruments date back to 43,000 years ago and took the form of flutes made from the bones of mammoths and birds. Researchers believe they played a role in religion and in entertainment – in this sense, very little has changed. The wildest theories claim that music was one of the factors that gave us, the Homo sapiens, a competitive edge over the Neanderthal: music helped foster deeper cooperation between individuals. In any case, however, the ones who decided to hollow out that bone and find out what kind of sound you could get out of it were individuals, and this brings us back to our theme of working alone. The modern solo musician enjoys a much greater sense of liberty than our distant forefathers. Multi-track and recording technology freed us from our physical constraints and allowed us to imagine ourselves as a multiplicity. Everyone could, in the comfort of his home, be his own one-man band without having to strap an array of instruments onto his body like carnival musicians or Rahsaan Roland Kirk used to. This is the frame from which A. E. Vauhkonen and Oiro Pena spring from. Vauhkonen’s hands simultaneously summon up brass, flutes, keyboards, drums, stringed instruments and all sorts of percussion. The sound is firm and slightly cosmic, like early Sun Ra Arkestra at its heartiest. But that’s enough about the music, listen for yourself.” – Markus Karlqvist

Following Music From Memory’s landmark compilation Virtual Dreams—which reframed ambient techno and IDM through a new age lens—comes another groundbreaking survey. Telepathic Fish: Trawling The Early 90s Ambient Underground revisits the legendary early ’90s London ambient party Telepathic Fish. Conceived by Mario Aguera, David Vallade, and Kevin Foakes (DJ Food), the series intersected with experimental spaces like Ambient Soho and Megatripolis, and this release captures that moment in vivid detail. Featuring unreleased and rare material from the likes of Global Communication, Spacetime Continuum, and Nightmares On Wax, the set reflects the multifaceted character of the ambient underground in its formative years. Complete with a 20-page booklet of photographs and archival materials, this is an essential document that reconnects sound with its era and hands the spirit of ’90s ambient and chillout into the present.

Khadim is a stunning reconfiguration of the Ndagga Rhythm Force sound. The instrumentation is radically pared down. The guitar is gone; the concatenation of sabars; the drum-kit. Each of the four tracks hones in on just one or two drummers; otherwise the sole recorded element is the singing; everything else is programmed. Synths are dialogically locked into the drumming. Tellingly, Ernestus has reached for his beloved Prophet-5, a signature go-to since Basic Channel days, thirty years ago. Texturally, the sound is more dubwise; prickling with effects. There is a new spaciousness, announced at the start by the ambient sounds of Dakar street-life. At the microphone, Mbene Diatta Seck revels in this new openness: mbalax diva, she feelingly turns each of the four songs into a discrete dramatic episode, using different sets of rhetorical techniques. The music throughout is taut, grooving, complex, like before; but more volatile, intuitive and reaching, with turbulent emotional and spiritual expressivity.

Not that Khadim represents any kind of break. Its transformativeness is rooted in the hundreds upon hundreds of hours the Rhythm Force has played together. Nearly a decade has passed since Yermande, the unit’s previous album. Every year throughout that period — barring lockdowns — the group has toured extensively, in Europe, the US, and Japan. With improvisation at the core of its music-making, each performance has been evolutionary, as it turns out heading towards Khadim. “I didn’t want to simply continue with the same formula, says Ernestus. “I preferred to wait for a new approach. Playing live so many times, I wanted to capture some of the energy and freedom of those performances.” Though several members of the touring ensemble sit out this recording — sabar drummers, kit-drummer, synth-player — their presence abides in the structure and swing of the music here.

Lamp Fall is a homage to Cheikh Ibra Fall, founder of the Baye Fall spiritual community. The mosque in the city of Touba is known as Lamp Fall, because the main tower resembles a lantern. Soy duggu Touba, moom guey séen / When you enter Touba, he is the one who greets you. After a swift, incantatory start Mbene sings with reflective seriousness. Her voice swirls with reverb, over a tight, funky, propulsive interplay between synth and drums, threaded with one- two jabs of bass. Cheikh Ibra Fall mi may way, mo diayndiou ré, la mu jëndé ko taalibe… Cheikh Ibra Fall amo morome, aboridial / Cheikh Ibra Fall shows the way forward, he gives us strength, he gathers his disciples… Overflowing with grace, Cheikh Ibra Fall has no equal.

Interwoven with Wolof proverbs, Dieuw Bakhul is a recriminatory song about treachery, lies, and back-biting. Over moody, roiling synths and ominous, lean bass, Mbene throws out fluttering scraps of vocal, as if re-running old conversations in her head. The music shadows her despair to the verge of breakdown, at one moment seemingly so lost in thought and memories, that it threatens to disintegrate. Bayilene di wor seen xarit ak seen an da ndo… Dieuw bakhul, dieuw ñaw na / Stop judging your friends and companions… A lie is no good, a lie is ugly.

Khadim is a show-stopper; currently the centrepiece of Ndagga Rhythm Force live performances. The song is dedicated to Cheikh Ahmadou Bamba, aka Khadim, founder of the Mouride Sufi order. Serigne Bamba mi may wayeu / Serigne Bamba is the one who makes me sing. The verses name-check revered members of his family and brotherhood, like Sokhna Diarra, Mame Thierno, and Serigne Bara. Though Islam has been practised in Senegal for a millennium, it wasn’t until the start of the twentieth century that it began to thoroughly permeate ordinary Senegalese society, hand-in-hand with anti-colonialism. The verses here recall Bamba’s banishment by the French to Gabon, and later to Mauritania, in those foundational times. During exile, his captors once introduced a lion to his cell: gaïnde gua waf, dieba lu ci Cheikhoul Khadim / the lion doesn’t budge, it gives itself over to Cheikh Khadim. Deep, surging bass, steady kick-drum, and simple, reverbed chords on the off-beat lend the feel and impetus of steppers reggae. A reed plays snatches of a traditional Baye Fall melody; the dazzling polyrhythmic drumming is by Serigne Mamoune Seck. Mbene compellingly blends percussive vocalese, narrative suspense, exultant praise, introspection, and grievance.

Nimzat is a devotional tribute to Cheikh Sadbou, a contemporary of Bamba, buried in a mausoleum in Nizmat, in southern Mauritania. Way nala, kagne nala… souma danana fata dale / I call upon you and wonder about you… If I am overwhelmed, come to my aid. The town holds special significance for Khadr Sufism. An annual pilgrimage there is conducted to this day. The rhythm is buoyantly funky; the mood is sombre, reined-in, foreboding. Punctuated by peals of thunder, Mbene sings with restrained, intense reverence; huskily confidential, steadfast. Nanu dem ba Nimzat, dé ba sali khina / Let us go to Nimzat, to seal our devotion.

On “Cold Sweat,” James Brown famously called to “give the drummer some.” In 1974, Philadelphia vibraphonist Khan Jamal called to Give the Vibes Some, with superb results. Pianist and composer Jef Gilson’s PALM label gave Jamal the platform he needed to deliver a thorough exploration of contemporary vibraphone. After launching PALM in 1973, Gilson quickly demonstrated that he would only produce records not found anywhere else. Give the Vibes Some, PALM number 10, was another confirmation of this guiding principle.

Raised and based in Philadelphia, Khan Jamal took up the vibes in 1968, after two years in the army during which he was stationed in France and Germany. Decisively drawn to the instrument by the work of the Modern Jazz Quartet’s Milt Jackson, Jamal studied under Philadelphia vibraphone legend Bill Lewis and soon made his debuts in the local underground.

Early in 1972, Jamal made his first recording, with the Sounds of Liberation. The band attempted an original fusion of conga-heavy grooves with avant-garde jazz soloing. Saxophonist Byard Lancaster, an important figure in Jamal’s development, contributed much of the solo work. Later in 1972, Jamal made his leader debut with Drum Dance to the Motherland, a reverb-drenched, never-to-be-replicated experiment with live sound processing. Both albums appeared on the tiny musician-run Dogtown label.

“We couldn’t get no play from nowhere. No gigs or recording sessions or anything. So I took off for Paris,” Jamal recalled in a Cadence interview with Ken Weiss. “Within a few weeks, I had a few articles and I did a record date. It didn’t make me feel good about America.” That was in 1974, while Byard Lancaster was recording the music gathered on Souffle Continu’s recent The Complete PALM Recordings, 1973-1974.

Jamal’s record date delivered Give the Vibes Some. At its core, it was an exploratory solo vibraphone album, even if two tracks added (through technological resourcefulness?) a très célèbre French drummer very much into Elvin Jones appearing under pseudonym for contractual reasons. Another track, for which Jamal switched to the vibes’s wooden ancestor, the marimba, added young Texan trumpeter Clint Jackson III. The most notable article published on Jamal during this stay in France was a Jazz Magazine interview. Jamal’s last word there were “The Creator has a master plan/drum dance to the motherland.” “Give the vibes some” could be added to this programmatic statement.

Crying Outcast returns with its third release, landing close to home with legendary dub innovator The Rootsman. Bradford’s own and a true pioneering force in experimental dub since the 90s, The Rootsman’s influence can be deeply traced throughout the underground. Roots Return gathers three essential works from his catalogue, including collaborations with Celtarabia and Russ (The Disciples) as Pachakuti, alongside a light-headed reinterpretation from label head Miles J Paralysis.

Vibe’s Maestro Khan Jamal’s “Infinity” features a Stellar line up, a drums and percussion-rich sextet that features altoist Byard Lancaster and a Philadelphia-based rhythm section, Clifton Burton on harmonica and the legendary free drummer Sunny Murray. Khan Jamal contributed four of the five songs, while pianist Bernard Sammul brought in a cooking "The Angry Young Man." The music stands up to and can be compared to anything released on the great Jazz labels and just like a Classic Blue Note, Prestige, Verve or Impulse release this is an absolute Stand Out Session. For the London, Tokyo and all points West End crowd the Worldwide Sound is "The Known Unknown" which has been featured on several underground compilations back in the Acid Jazz Heydays of the 1990's, but the whole album is a complete undiscovered gem. Self released in 1984 and long out of print, original copies fetch $1000 and upwards, so Jazz Room Records are proud and pleased to bring this Spiritual Soul Jazz gem out to a wider audience.

The World Is but a Place of Survival: Ethiopian Begena Songs documents the spiritual heart of Ethiopia’s Orthodox Amhara tradition. The begena, a ten‑stringed lyre linked by legend to King David, is reserved solely for sacred music. Its rich, buzzing tone – produced by leather strips beneath the strings – is believed to protect against evil and bring players closer to God. Symbolising elements of the faith, the instrument is played during times of prayer and reflection, especially Lent. Long associated with scholars and nobles, the begena endured even the Derg regime’s ban.

Recorded in Addis Ababa by Stéphanie Weisser (2002–2005) and mastered by Renaud Millet‑Lacombe, this release comes via Death Is Not The End under licence from VDE‑Gallo, Switzerland.

Somewhat of a companion piece to our If I Had a Pair of Wings compilations from a few years back, exploring a similar period in Jamaican-recorded music though this time focusing in on gospel, mento & nyabinghi-influenced R&B sounds from the 1950s & early 60s.

The Boy and the Tree was composed after a visit to Yakushima Island, an outstandingly beautiful world heritage site off the southern tip of Japan, scored by a deep, lush and ancient ravine, home of the ancient 7000-year old ‘Jōmon Sugi’. Tree. Also the inspiration for Miyazaki's epic anime Princess Mononoke, a conflict between the rampant greed and destructive force of humanity, and the stoic, mysterious fragility of nature. This fleeting immersion in nature lent the album a profound introspection and mystery, and the its twelve tracks unfold in dream sequence, each drifting seamlessly into the next while still managing to steer the listener in myriad directions, from eerie butoh atmospheres, to ebullient raga, to desolate, cavernous chanson. The Boy And The Tree is definitely one of, if not the most, visually evocative and cinematic Yokota releases.

Carrying on a string of stunning archival releases from major figures of Indian classical tradition (including releases from members of the Dagar family and Amelia Cuni), Black Truffle is pleased to announce an unheard recording from tabla master Kamalesh Maitra (1924-2005). For over fifty years, Maitra devoted himself to the rare tabla tarang, a set of between ten and sixteen hand drums tuned to the notes of the raga to be performed. While the tabla tarang has its origins in the late 19th century, Maitra was the first to recognise its potential as a solo concert instrument, using the set of tuned drums to perform full-length raags. Seated behind a semi-circular array of drums, Maitra produced stunning waves of melodic improvisation enlivened with the rhythmic invention of a master percussionist. Across his career, Maitra performed in ensembles led by Ravi Shankar, collaborated with George Harrison, and led his own East-West fusion group, the Ragatala Ensemble. However, it is in the solo setting that his remarkable artistry and the otherworldly timbral qualities of the tabla tarang are most strikingly on display. Recorded during the same 1985 Berlin sessions that produced Maitra’s self-released solo LP Tabla Tarang: Ragas on Drums, on Raag Kirwani on Tabla Tarang we are treated to Maitra stretching out for over forty minutes on the late night Raag Kirwani, accompanied by Laura Patchen on tabla and Mila Morgenstern and Marina Kitsos on tanpura. The performance begins with the traditional free-floating exposition section, where Maitra’s spacious melodic improvisation at times almost resembles a plucked string instrument (like the sarod, which Maitra also played). For the listener unaccustomed to the tabla tarang, the sound of these microtonally inflected melodic patterns played on drums has a magic quality. As Maitra begins to imply the rhythmic cycles more strongly, Patchen joins on tabla, beginning half an hour of rhythmic-melodic exploration, where virtuosity sits side by side with delicacy and meditative attention. Accompanied by beautiful archival images and extensive liner notes from Laura Patchen, for many listeners Raag Kirwani on Tabla Tarang will be the perfect introduction to the magical world of Kamalesh Maitra, released to coincide with the hundredth anniversary of the master musician’s birth.

Venezuelan composer Oksana Linde presents Travesías, her second album released by Buh Records, featuring pieces created between 1986 and 1994 in her private studio in San Antonio de Los Altos, Venezuela. These compositions belong to the same creative period as the works included in her acclaimed debut album, Aquatic and Other Worlds (Buh, 2022). The pieces “Mundos Flotantes,” “Horizontes Lejanos,” and “Arrecifes en el espacio” were expressly composed for the concert Travesía Acuastral, presented by Linde in February 1991 at the Casa Rómulo Gallegos during the 3er Encuentro de la Nueva Música Electrónica. This event, produced by Maite Galán in collaboration with the group Musikautomatika, was a milestone in the development of an experimental electronic music scene in Venezuela, which at the time was one of the most vibrant in Latin America. The name Travesía Acuastral reflects the surreal imagination that inspired much of the artist’s work. These ideas, centered on extraordinary ways of perceiving reality, also connected with alternative meditation practices such as Reiki, which attracted Linde’s attention from the mid-1980s to the early 1990s. This period followed her departure from her career as a chemical researcher due to severe health issues. During this time, she composed a series of pieces for meditation sessions, four of which are included in this compilation: “Luciérnagas en los manglares,” “Estrellas I” and “II,” and “Kerepakupai vena.” The latter references two words from the Pemón Indigenous community in southeastern Venezuela, meaning Salto Ángel [Angel Falls]—the name of the world’s tallest waterfall, located in the state of Bolívar. Born in 1948 in Caracas to Ukrainian immigrant parents, Oksana Linde’s career is an example of resilience and innovation. After leaving her work as a chemist due to health problems, Linde turned to music, experimenting with synthesizers to create an evocative sound universe. She produced a substantial amount of recordings during the 1980s, many of which remained unpublished until the release of Aquatic and Other Worlds. Since then, Linde’s work has been compared to artists such as Isao Tomita and Suzanne Ciani. Travesías further establishes her as an essential figure in electronic music and continues to unveil one of the most fascinating musical archives of Latin American electronic music.

Brendan Eder follows up minimalist 70s-jazz concept with new ambient-neoclassical record, Therapy. On March 3, 2023 Eder released his third album, THERAPY; a collection of meditative compositions recorded mostly at a church in Southern California. The self-released album went on to chart at #6 in Billboard's Crossover Classical and was featured in The Guardian's "The Best Albums of 2023 So Far." Following 2021’s Cape Cod Cottage — Eder’s understated-jazz concept album under the guise of Edward Blankman, a retired dentist in the 1970s — for Therapy, Eder drops the alter ego and the drumset and explores more reverberant sounds with his ensemble of woodwinds. The result is a distinctive take on ambient music subtly interwoven with Eder’s affinity for 20th century classical and jazz.

Joshua Abrams’ Chicago-based avant-garde collective Natural Information Society, also known for their collaboration with Bitchin Bajas, return with a long-awaited repress of their 2024 masterpiece Since Time Is Gravity on eremite records. Anchored by the deep pulse of the guimbri and the sustained tones of the harmonium, the music interweaves heavy rhythmic foundations with the spiritual cry of the saxophone, uniting minimalism and spiritual jazz. The expanded ensemble surges in spirals or drifts in hushed stillness, creating an immersive experience that seems to transform time itself. Rooted in the traditions of Chicago jazz, infused with the trance-like mysticism of North African folk, and sharpened by a contemporary minimalist sensibility, this album stands as a pinnacle of truly living music.

'Nekkuja' is a place for Herlop's warmest, sweetest sentiments to rise to the surface and crack through the topsoil. She describes the record as a way for her to seek and affirm inner light, and it's undoubtedly her brightest, poppiest statement to date. The forward-thinking, experimental touches that nourished 'Pripyat' are still present, but blessed with a level of positivity that's rare to find in a scene so entranced by darkness and melancholy.

New album of peaceful explorations by The Cosmic Tones Research Trio. This, their second record, maintains the space and long tones that made their debut, "All Is Sound" a successful anecdote to the loud and fast times we live in. It also expands their musical palate with powerful rhythmic elements.

The Cosmic Tones Research Trio have been breaking new ground with healing / meditation music that also honors their roots in Gospel and Blues...and hints at forward looking Spiritual Jazz. Through their Cello, Saxophone, Piano and Flute playing they bring a new sound to the table. Ancient to the future.

New album of peaceful explorations by The Cosmic Tones Research Trio. This, their second record, maintains the space and long tones that made their debut, "All Is Sound" a successful anecdote to the loud and fast times we live in. It also expands their musical palate with powerful rhythmic elements.

The Cosmic Tones Research Trio have been breaking new ground with healing / meditation music that also honors their roots in Gospel and Blues...and hints at forward looking Spiritual Jazz. Through their Cello, Saxophone, Piano and Flute playing they bring a new sound to the table. Ancient to the future.

A key work from the golden era of Impulse! Records, Love in Us All is a 1974 masterpiece by spiritual jazz seeker Pharoah Sanders, now reissued on vinyl. As the title suggests, this album is a sonic journey of devotion and transcendence toward the “love within us all.” A powerful balance of mysticism and compassion, chaos and serenity—this is truly music shaped by love and the cosmos. An eternal resonance, more vital now than ever.

Saxophonist, flautist and producer Chip Wickham casts a formidable shadow across the UK jazz landscape. Originally from Brighton, Chip Wickham first came to prominence in the UK breakbeat scene playing with the likes of Nightmares On Wax and Graham Massey. But at heart Chip has always been a jazz musician (he played on Matthew Halsall’s debut album 'Sending My Love' in 2008 beginning a relationship with Gondwana Records that now spans 17 years) and now dividing his time between the UK, Spain and the Middle-East, he has made a name for himself with a series of beautifully crafted solo albums that draw equally on hard swinging spiritual jazz, the classic sounds of 60s British jazz and the more contemporary sounds of artists such as Jazzanova, The Cinematic Orchestra, and Nicola Conte.

'The Eternal Now’ is Chip’s most progressive recording to date and represents a heartfelt ode to submitting oneself to the practice of creating art, and the freedom that’s derived from letting go.

Co-produced by Matthew Halsall, 'The Eternal Now' features two mainstays of the Manchester scene, legendary drummer Luke Flowers of The Cinematic Orchestra and well-loved bass-player Sneaky who played on Mr Scruff’s classic Keep it Unreal. Largely flute-led it’s his most rhythm heavy offering to date taking the listener on an expansive journey that touches on the influences of Lonnie Liston Smith, Sven Wunder, David Axelrod and even library music as Chip pushes his sound into exciting new spaces without ever losing the soulful groove and heartfelt melodies that make his music so loved.

Recording Personnel

Chip Wickham: alto flute, flute, soprano saxophone & tenor saxophone

Peach: vocals

Eoin Grace: trumpet & flugelhorn

George Cooper: Fender Rhodes

Simon ‘Sneaky’ Houghton: double bass

Luke Flowers: drums

Christophe Leroux: cello

Snowboy: congas & percussion

Mohamed Oweda: violin

Lia Wickham: vocals

Gondwana Records