MUSIC

In the late 1960s, Antonio Infantino linked his name to the Beat world and to italian performance and gestural music circles (Bussotti, Chiari, Curran). A poet and singer, a tireless devotee of the musical traditions of Southern Italy, he focuses his research mainly on the mysterious phenomenon of Tarantismo, a cultural syndrome of hysterical type found in the Mediterranean air and made famous by the studies of Ernesto De Martino. With his group, Infantino twists and reinvents the traditional repertoire of Basilicata, creating an entirely new and original songbook. The music reflects the states of Trance induced by the bite of the spider tarantula, with obsessive and hypnotic rhythms characteristic of the incandescent blood of the peasant world. A deep and universal human sound, it also takes its cues from Dylan's folk revolution and the frenetic drums of North Africa.

In the late 1960s, Antonio Infantino linked his name to the Beat world and to italian performance and gestural music circles (Bussotti, Chiari, Curran). A poet and singer, a tireless devotee of the musical traditions of Southern Italy, he focuses his research mainly on the mysterious phenomenon of Tarantismo, a cultural syndrome of hysterical type found in the Mediterranean air and made famous by the studies of Ernesto De Martino. With his group, Infantino twists and reinvents the traditional repertoire of Basilicata, creating an entirely new and original songbook. The music reflects the states of Trance induced by the bite of the spider tarantula, with obsessive and hypnotic rhythms characteristic of the incandescent blood of the peasant world. A deep and universal human sound, it also takes its cues from Dylan's folk revolution and the frenetic drums of North Africa.

The strength of the Akira soundtrack lies in its unique blend of traditional Japanese instruments and futuristic electronic sounds. Shoji Yamashiro weaves together an eclectic mix of influences, creating a sonic landscape that mirrors the dystopian and cyberpunk themes of the movie. The use of traditional chants, taiko drums, and Shakuhachi flutes alongside electronic synthesizers and orchestral elements generates a hauntingly mesmerizing atmosphere that perfectly complements the visuals on screen. The composer also drew from the chants of Noh, traditional Japanese theater. Combined with polyrhythmic drum machine beats and synths tuned to gamelan microtonal scales, these styles give a sense of ritualistic tension to the dystopian world of Akira.

On September 1, 1978, the musical trio Codona graced the stage in Willisau, Switzerland, just before their eponymous debut on ECM. This Swiss FM broadcast immortalised their performance, featuring Collin Walcott on sitar, Don Cherry on trumpet, and Nana Vasconcelos on percussion. Together, they spun a mesmerising tapestry of sound. The opening piece, 'New Light,' spans 16 minutes and evokes pure joy with its enchanting melodies and rhythmic intricacies. Codona's magical encounter showcases the seamless interplay of three masterful musicians and this record captures a moment of musical transcendence that continues to resonate to this day.

and the novelty goes on: mule musiq welcomes another fresh producer to its vast catalogue of music from all around. this time andro gogibedashvili aka saphileaum. he is coming from tbilisi, georgia and already released an impressive body of work, considering he just publishes music since 2016. countless eps and albums, digital, on tape, documenting his feverish creative urge on labels like not not fun records, good morning tapes, diffuse reality, or vodkast. they cover a comprehensive stylistic range from ambient and downtempo to tribal, house, and techno nuances. a deeper shade of soul, precisely fashioned, growing from different playgrounds of inspiration. he was born into a musical family. as a kid he studied georgian folk. in his school rock band, he sang, and the guitar was his love. then electronic music called the tune, and techno hit his heart. in the midst of it all the 26-year-old never lost contact with his spiritual home. “i find deep inspiration in georgian myths and legends, occultism and esoteric teachings, lost civilizations, earth, unity, truth, information, and the secrets of the universe. these things, to name a few, inspire me daily and help me create the music I make.” saphileaum reveals. “exploring together”, his debut album for mule, navigates all these elements through a merry-go-round of gentle driven rhythm zones. fourth-world spheres, balearic tropes, field recording zones, tropical downbeat, tribal percussions, trancing sounds, balafon hums, mallet airs, hooky house – it’s all there, circling the eavesdropper into a dreamland of melodic undercurrents. “my loops come from tribal and cosmic inspirations. tribal, as below, and cosmic as above. the combination of these two, is very interesting to me”, he clarifies, while joking “but, to put it super simply, loops are super handy for djing”. which brings us to the final promotion of “exploring together” - it’s playability. its vast. multifunctional. spiritual. made for gatherings, were all dance time away. lost in music actions, only touched by the hand of rhythm and sound. his ten tracks are created for such flashes, wide spreading a musical narration of illuminating durability. “cosmic, relaxing, fun, tribal, and mystic.”, as saphileaum declares.

Saadia Jefferson is a glorious act of vandalism on Yemeni traditions led by inventor, carpenter, musician, and composer Eyal El Wahab. Dismantling lyrics, melodies, and compositions from Yemeni folk songs, El Khat delve into uncharted sonic territory updating Yemen's ancient culture. Using an orchestra of instruments old and new, many repurposed from junk objects and turned into instruments that sound similar to traditional Arabic and North African lutes and percussion, Tel Aviv based El Khat have imagined an indelible stamp of polyphonic, harmony soaked, pan-Arabic braindance. Hover over the tracks and you can pick out certain influences such as Omar Souleyman and dabkefolk characterised by trance-inducing chants (Wahed Mozawej), the searing Ethiopique organ of Mulatu Astatke (Ala Jina Nuhayiykum), and the unashamedly sing-along choruses of Bowie or McCartney (Balagh Al Achbaab), but the over-arching concept within Saadia Jefferson is Eyal's sense of identity, or lack of it, as a Yemeni living in Tel Aviv. The album is the rewards of a self-imposed mission to discover Eyal El Wahab's Yemeni roots.

Doc Lloyd Miller returns with his signature and timeless Spiritual Jazz and World/Cultural Music trademarks, as well as inviting a few contemporary sensibilities contributed by himself and collaborators Ian Camp and producer Adam Michael Terry. Expanding upon Miller's distinctive Academic, Persian and Far-Eastern Jazz Fusion into territories of New Age, Minimalism, Modern Classical, Ambient, and even hints of Psychedelic Folk with the opening song "The Summoning". Proudly extending Lloyd's already unique and massive music pallet that has been documented on his esoteric 60's records and self-released CDs over the decades, we anticipate his fans around the world will be pleased to hear familiar stylings as well as some evolved ideas.

Recorded late summer 2019 down in Lloyd Miller's basement, "At the Ends of the World" is a prophetic expression of the social and cerebral atmospheres that Miller personally predicted for the pestilence of 2020. The album reflects a moody dichotomy between the increasingly doomed world and the musician's attempts to heal with divine music and cultural beauty
credits
releases November 6, 2020

A raid on the values of oriental jazz master and pioneering ethnomusicologist Lloyd Miller. As we’ve said before on the rare encounters we’ve had with Miller’s work, he’s quite a unique figure within the worlds of jazz, traditional Middle-Eastern folk and musicology. Few in history seem to be so heavily embedded within local music scenes and have been capable of absorbing so much from their surroundings. His original works (almost all self-released) are extremely hard to find and are pretty much out of reach for most. This double LP ‘Orientations’ is really what we’ve been longing for though. With unrestricted access to Dr Miller’s archives, local Utah label FOUNTAINavm have combed through previously unreleased recordings from the early 60’s to the early 00’s, capturing the breadth and scale of this unique artist. The cultural clash between east and west underpins each piece, where Miller’s astonishing dexterity on at least 15 different non-western instruments is infused with European Jazz standards. Like listening back in time, the fragrant humid air of the old orient hangs heavy in the atmosphere, capturing a time of great change in the area where the osmosis of culture between East and West would really take off, not without its problems. But these are recordings we keep coming back to, like the lilting romance of piano piece ‘Shahin’ recorded in early 70’s Tehran, or the hypnotic South Indian inspired Carnatic Clarinet from 1960’s. Miller’s work exists at an interesting historical intersection where jazz, folk, spiritual and documentary aspects of music all overlap. (Mint / New - heavy 2LP gatefold). This double LP album is sourced from Lloyd Miller’s personal archives of masters and personal recordings. Archival, Curation, and Tape Transfers by Adam Michael Terry.

"Beirut group Sanam’s debut record Aykathani Malakon blasts to life with its mix of low-tuned guitar jams, industrial drums, and earthy vocals – an immersive collection of dark and spacious textures” The Guardian “A gritty blend of noise rock, ambient textures and Arabic forms that cast the traditional material in a visceral new context" The Wire "Absolutely love this record, it's amazing” Tom Ravenscroft “A bit post punk and experimental and very very interesting” Gilles Peterson ++++ Debut release from the Beirut-based free-rock post-folk sextet. Album mixed by Radwan Ghazi Moumneh (Jerusalem in My Heart) and mastered by Heba Kadry. SANAM's music is a ritual where improvised rock, free jazz and noise underscore an exorcism of traditional Egyptian song and Arabic poetry. SANAM formed following an invitation to perform with Hans Joachim Irmler from the legendary German experimental group Faust, at Beirut's Irtijal music festival in 2021. Sandy Chamoun (vocals), Antonio Hajj (bass), Farah Kaddour (buzuk), Anthony Sahyoun (guitar, synth), Pascal Semerdjian (drums) and Marwan Tohme (guitars) bring a myriad of influences gleaned from years performing either solo or as members of influential acts in Beirut’s tight-knit independent music scene (such as Al Rahel al Kabir, Postcards, Kinematik and Ovid). The musicians had planned to reiterate their fortuitous experience with Irmler but when this plan fell through, they decided to go on a recording residency together instead in a traditional house in the village of Saqi Reshmaya, Lebanon. The recording of the album took place during a particularly difficult time in their native country of Lebanon, which continues to suffer from an unprecedented economic collapse as well as social and political unrest. “We decided to take eight days off in May 2022 in an effort to completely disconnect ourselves from Beirut” says Sahyoun, who also performs in post-rock outfit Kinematik. During their residency, the musicians, who come from distinct musical styles and backgrounds, decided to record the full album live with no overdubs: “The musical direction for SANAM was set out by the improv sessions with Joachim," says Sahyoun. "We weren't looking at doing something specific, it ended up coming out as a weird mix between improvised rock, tarab/arabic song and ambient. Kind of putting different things in a blender (our different musical backgrounds) and never really letting them quite fuse together. Recounting the insular experience of recording this debut, Sandy Chamoun described it as “almost hallucinogenic, as if there was a tacit agreement among us to produce an album that sounded 'unearthly' ”. Combining regional and local folklore and poetry with experimental forms of instrumental music are at the core of Aykathani Malakon. Chamoun, who chose the texts for this album and has performed in the Lebanese satirical music collective Al Rahel al Kabir, turned to modern and contemporary Arab writers and composers such as Lebanese poet Bassem Hajjar whose poem Aykathani Malakon lends the album its title and opening track, Paul Chaoul whose poem Chamoun recites in a state of ascending ecstasy in Ayouha Al-Taiin Fi Al-Mawt and the Egyptian composer Sayyid Darwish in the languorous Ya Nass that features prominently the buzuk played by Farah Kaddour. As Chamoun points out, the poetry or lyrics in the album constitute “a collective call for an escape from a hallucinatory state engendered by love but also the mysteries of life itself”.

Intifaxa is the first part in a series of 4 outstanding double vinyl albums with bonus songs, previously released on CD between 1990 and 1994 on the Australian cult label Extreme Music. Intifaxa is full of heavy percussion fire with deep tribal grooves, embedded in modulated field recordings. The album is a transcendental journey into Eastern soundscapes and a secret weapon for DJs who enjoy to tear down the borders of tribal underground house and psychedelic trance music. The original tracks were perfectly remastered for this first time ever vinyl release and the new masters received high praise from the Extreme Music owner Roger Richards. New sleeve designs were created by Oleg Galay, who is famous for his artworks for many Muslimgauze reissues. All 4 album covers are made from extra heavy cardboard with deluxe spot UV finish and inside print.

FLOCKS is a new duo, formed by drone specialist WERNER DURAND and ULI HOHMANN. Musical landscapes that move between traditional as well as experimental sounds with influences from Krautrock and JON HASSEL's "fourth world" aesthetics. WERNER DURAND has made himself a name with various projects with Dhrupad singerAMELIA CUNI, playing with URBAN SAX, ARNOLD DREYBLATT, HENNING CHRISTIANSEN, DAVID BEHRMAN, ELLEN FULLMAN, CATHERINE CHRISTER HENNIX, as the co-founder of THE 13th TRIBE, ARMCHAIR TRAVELLER and TONALIENS (with ROBIN AYWARD and HILARY JEFFERY) plus numerous solo albums, released on labels like Black Truffle, Unseen Worlds or Edition Telemark. Having studied saxophone as well as Indian / Persian flutes, the Berlin based DURAND is a highly reputated protagonist in the drone scene, famous for his self-built wind instruments like buzz-clarinets or his PVC neys & horns. His partner in FLOCKS (and longtime personal friend) is ULI HOHMANN whose early encounters with music from Asia, India and Africa led to studies with the Ghanaian master drummer MUSTAPHA TETTEY ADDY and later Tombak and Daf with NEMAD DARMAN (Iran). HOHMANN played in a couple of projects that explored the language of classical Persian music, and started building his own stringed instruments (being an educated carpenter). In 2014 he joined DURAND and AMELIA CUNI for the album "Clearing", and 2018 DURAND and HOHMANN decided to continue as a duo: FLOCKS was born. On their selftitled debut they shape drone-y soundscapes based on their self-built wind- & stringed instruments, Persian percussion and subtle electronics, drawing additional inspiration from Krautrock (listen to the irresistible, hypnotique groove of "Quicksand") as well as JON HASSEL's "fourth world" aesthetics, placing the duo nicely between tradition and experiment!

FLOCKS is a new duo, formed by drone specialist WERNER DURAND and ULI HOHMANN. Musical landscapes that move between traditional as well as experimental sounds with influences from Krautrock and JON HASSEL's "fourth world" aesthetics. WERNER DURAND has made himself a name with various projects with Dhrupad singerAMELIA CUNI, playing with URBAN SAX, ARNOLD DREYBLATT, HENNING CHRISTIANSEN, DAVID BEHRMAN, ELLEN FULLMAN, CATHERINE CHRISTER HENNIX, as the co-founder of THE 13th TRIBE, ARMCHAIR TRAVELLER and TONALIENS (with ROBIN AYWARD and HILARY JEFFERY) plus numerous solo albums, released on labels like Black Truffle, Unseen Worlds or Edition Telemark. Having studied saxophone as well as Indian / Persian flutes, the Berlin based DURAND is a highly reputated protagonist in the drone scene, famous for his self-built wind instruments like buzz-clarinets or his PVC neys & horns. His partner in FLOCKS (and longtime personal friend) is ULI HOHMANN whose early encounters with music from Asia, India and Africa led to studies with the Ghanaian master drummer MUSTAPHA TETTEY ADDY and later Tombak and Daf with NEMAD DARMAN (Iran). HOHMANN played in a couple of projects that explored the language of classical Persian music, and started building his own stringed instruments (being an educated carpenter). In 2014 he joined DURAND and AMELIA CUNI for the album "Clearing", and 2018 DURAND and HOHMANN decided to continue as a duo: FLOCKS was born. On their selftitled debut they shape drone-y soundscapes based on their self-built wind- & stringed instruments, Persian percussion and subtle electronics, drawing additional inspiration from Krautrock (listen to the irresistible, hypnotique groove of "Quicksand") as well as JON HASSEL's "fourth world" aesthetics, placing the duo nicely between tradition and experiment!

The Scandal of Time' bookends a prolific period of experimentation for Sam Shackleton and follows a raft of collaborations (with Wacław Zimpel, Heather Leigh and Scotch Rolex this year alone) with what amounts to his first new solo album since 2021’s ‘Departing Like Rivers’. It might also be his most advanced, forward-facing work in years. Shackleton's been edging away from the dancefloor for about a decade now, exploring alternative tuning systems, modern classical sounds and non-Western rhythms. 'The Scandal of Time' works not just as a précis but a daring leap forward, mixing ghosted, traditional; German folk songs with heart-piercing basslines, xenharmonic percussion and open-ended drones, on what promises to be his last solo release for a while. The eerie, hauntological world Shackleton has created here is a testament to his years of work on experimental bass music's fringes. He's managed to shepherd us through so many disparate musical styles that have here been finally sutured into a single, startling vessel.

he unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter, and producer. Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with Hosono House, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom. Hosono’s solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO). Released in September 1978, a mere two months before YMO’s debut, Cochin Moon is a clear precursor to the groundbreaking synth and sequencer-dominated sounds that would come to define the iconic trio. Credited to Hosono and Pop Art legend Tadanori Yokoo (who created the cover art), Cochin Moon is a fictional soundtrack to a journey into unknown worlds, inspired by Hosono and Yokoo’s trip to India. Initially the album was to be a kind of ethnographic musical document, using found sounds and field recordings made by Hosono himself. Instead, after Yokoo introduced Hosono to the sounds of Kraftwerk and krautrock during the trip, Cochin Moon became something much stranger. Created almost entirely on synthesizers and sequencers with the help of future YMO collaborators Ryuichi Sakamoto and Hideki Matsutake, the music on the album is the perfect encapsulation of Hosono’s concept of “sightseeing music,” transporting the listener to an exotic place that may or may not exist. This highly sought-after album sees its first-ever official release outside of Japan. Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.

Dub-infused post-punk treats from astonishing percussionist Valentina Magaletti (Tomaga, Moin, Holy Tongue) and Zongamin as V/Z. The basslines throughout really hit that sweet spot and the collaborations are killer; Coby Sey and Venus Ex Machina join the fun, along with Vanishing Twin's Cathy Lucas on 'Habadash' with a most appealing Seefeel flavour. Highly recommended.

compiling scattered early works by erin hopes. 160bpm+, ultra-emotional dream-tekno>neo-trance>space tracks. romantic/relentless, up/down, weary/wired. fed on gabber, dressed by juicy couture, watched over by paris hilton (mk1). erin hopes is a producer from glasgow and operates the label manic bb. protect me from what i want>>>

Palestre is a study of higher-dimensional spaces and altered states of consciousness. It explores parallel dimensions and temporal anomalies from a perspective that blends mythology, modern physics, ADHD, transcendental music and club culture. Sciogli Assurdi was recorded between art galleries, clubs, squats, and folkloric festivities in 2018.

Recorded live in Austria in 1972 this outstanding document marks an important event such as the meeting between Don Cherry and Dollar Brand. Here, the modern jazz trumpet master and the great South-African pianist along with percussionist Nana Vasconcelos and bassist Johnny Dyani are caught in the middle of a sound ritual where jazz elements and world music echoes appear as fully integrated in some sort of visionary, organic music form. A deep sensorial experience based on human and artistic values and freedom principles. Personnel: Don Cherry (trumpet, vocals); Dollar Brand (piano, flute, vocals); Johnny Dyani (double bass, percussion, vocals); Nana Vasconcelos (berimbau, percussion, vocals).

New imprint Silver Triplet enters the world with a rocket of a collaborative album from two of electronic music’s most free-spirited mavericks. Combining the surrealist punk ethos of Scotch Rolex and the bass heavy psychedelia of Shackleton, Death by Tickling is ten tracks full of wild and unpredictable changes, incorporating odd time signatures, cosmic synth freak outs and dubbed out space vibrations. At times the album lulls the listener into a zoned out trance whilst at other times it startles with its ferocity, Death by Tickling has the whole range in its Helter Skelter approach. Produced in their studio in Berlin, both artists’ sonic signatures can be unmistakeably recognised on this album. Scotch Rolex is best known for his work with Kampala based artists MC Yallah and DUMA's Lord Spikeheart. With releases on Nyege Nyege’s Hakuna Kulala label, Rolex draws on dancehall, trap, Japanese traditional music, gabber, grindcore, Gqom, and Kuduro to unique and exciting effect. The same energy permeates this new release, but with a new elements of shamanism and deconstructed rhythms. Meanwhile, the founder of Skull Disco, Shackleton, has been carving out his own brand of esoteric ritual trance music for the best part of two decades on labels such as Honest Jon’s, Hot Flush and Perlon. This record sees him taking Rolex’s raw beats and devil may care trickery and exploding it through a dub effect rack into outer space. It is an hour of out-there music which will appeal to those who like it challenging and adventurous. At the same time, you could get the impression that there is even a savage humour or a cosmic joke underlying the whole endeavour, hence the title, Death by Tickling. To round off the package, the brilliant artwork is courtesy of Zeke Clough who can always be depended on to bring the unexpected.

This CD is devoted to the third phase of these ritual nights –the Mlouk (“the possessors”)– and offers a sample of an ecstatic moment of the lila when, moving through the seven colours, the maâlem and the community around him occupy the sanctified space.

A surreal and futuristic HexD/nightcore masterpiece full of euphoria that has passed through post-hyperpop rave/hard trance. The CD version is limited to 75 copies.