MUSIC

Michael Ranta has collaborated with Takehisa Kosugi, Toshi Ichiyanagi, Jean-Claude Eloy, Conny Plank, Mike Lewis, and Hartmut Geerken, just to name a few. He was also assistant to Harry Partch and performer in the Gate 5 Ensemble in the 1960s. Additionally, Ranta performed in Stockhausen's ensemble during the 1970 World Expo in Osaka. Ranta's resume also includes recordings by Helmut Lachenmann, Herbert Brün, Toru Takemitsu, Josef Anton Riedl, Mauricio Kagel, among others. Throughout his extensive recordings and live performances, Ranta has furthered the trajectories of contemporary percussion composition alongside works for tape and electronics. His works are fully immersive which evoke vast spaces, ritual, and create an expansive presence for his accompanying multimedia commissions. For this CD release, two of Ranta's longform pieces are included: "The Great Wall" and "Chanta Khat". Originally scored for the HT Chen Dance Company as a theater production, "The Great Wall" premiered in 1984 at the La MaMa experimental theater in New York. This highly detailed composition for electronics, voice, percussion, and tape offers a massive drone-based accompaniment for Chen's stage presentation of the legend of Meng Jiangnu. Yet, Ranta's composition also creates a fully formed soundtrack that stands beautifully on its own. The atmosphere is very much in the spirit of Kosugi's multimedia masterwork Catch Wave and Jean Clade Eloy's large-scale production Yo-In which also features Ranta. "Chanta Khat" was completed in 1973. An early version of this piece originally premiered as part of a multimedia installation at the 1972 summer Olympics in Munich. This powerful work for tape and electronics includes Ranta's field recordings documenting his travel in Laos during a lunar eclipse earlier that same year. The piece is a haunting and equally frantic work where the local villagers are heard responding quite emotionally and viscerally to the celestial event of the day. "Chanta Khat" was later reworked and remixed in 1973 at the NHK electronic music studio in Tokyo. This version is featured here in its entirety. Packaged in a six-panel digipak with fully remastered and restored audio. Includes detailed notes by Michael Ranta and features new artwork by Timo van Luijk.

More than any other of Ranta's releases this album shows his multiple roots and ideas as a composer, percussionist and concrete/electronic musician, building a seamless bridge between Eastern and Western avantgarde. Ranta is one of those rare composers able to organically melt his wide artistic span into a singular but yet diverse universe morphing his rich vocabulary as a percussionist with the Oriental esoteric tradition, the psychedelic underground and the realm of electronic minimalism.

Four essential cuts from Ghana & Cape Verde, compiled by Arp Frique... Music is a great connector, bringing people together in many ways. On his journey in music so far, Arp Frique has been fortunate to meet many beautiful artists. The songs on this first edition of "Radio Familia" are deeply connected to the musicians he performs with. Join the music family on a trip through exciting sounds from Ghana and Cape Verde and listen to their story in both words and music. Arp Frique never played a show without including Americo Brito’s epic song “C’est Dudu”. The song originally appeared on his album “Fidjo Di Mizeria” from 1989 but he had been performing his anthem for years and it came in many shapes and forms. After spending a lot of time in Paris, he (like many others in those days) got inspired by new records from Guadeloupe and Martinique, especially “kadans”. Incorporating latin piano motifs borrowed from salsa and merengue and a bold choice to sing in French, the song and album became an instant success for Americo in and outside the clubscene (note: DJs were not the primary source of dance music in those days, bands played all night to keep the dancers moving). The addition of C’est Dudu to this compilation became especially relevant since Americo recently passed away. Fortunately, his anthem just like all his other music will remain with us for decades to come. While going through the archives with Americo Brito for the Radio Verde compilation, he introduced Arp Frique to a band called Imilux Star, of course again well connected with Americo. This Cape Verdean band residing in Luxemburg (where there is a substantial Cape Verdean community) definitely added a different flavor to the musical pallet the islands are famous for: heavy syncopated rhythms coming from the drum computer. They released two albums which both became very popular in their scene and the track “Yolanda” from their 1988 album “Jota Dê” got to Arp Frique’s attention too late to add to the Radio Verde comp. The band is still performing to this day in the Luxemburg-Cape Verdean live circuit. While Arp Frique was on the road with his lead singer Mariseya, they talked much and deep about Ghanaian music (especially highlife) and he learned a lot about the community from Ghana in the Netherlands, mostly in Amsterdam and The Hague. Mariseya’s dad, Nana Adomako Nyamekye, came to see their liveshow while in the UK which was very special to them considering he is one of the highlife artists Arp Frique has grown to be very fond of. His deeply funky and bubbly bass driven song “Obra Twa Owuo” is about life and death, telling us we should all love each other as we still have life to live. Originally released on “Ano Plan” from 1982, the album is filled with philosophical advice. In his own words: “A message to all humans that something awaits us all at the end of life. Let’s live together with love. Bnnyhunna, from the Ghanaian community in the Netherlands, joined Arp Frique’s live experience several times playing keyboards and synthesizers. His dad Elvis Kwasi Ankomah, just like him, developed a high level of musicianship while performing regularly in church. The song “Fa Wokoma Mame” (give me your heart) from his only studioalbum “Mfa Menko” released in 1995 is about showing his love to a lady but only if she puts her trust in him completely. The album talks about love, pain, relationships and life. Having worked with artists like Daddy Lumba, Nana Ampadu, Amakye Dede and many other hiplife and highlife legends, he still plays in church every week and has been doing so ever since he was 15 years young.

“RARE & LOST TAPES” is a collection of singles by the legendary group CORTEX never released on album. This album brings together previously unreleased and rare recordings such as "Les Oiseaux Morts" (Alternative Take 76) released only as a Test Pressing, "Mary & Jeff" (Fender Rhodes Version 77) recorded for TV, or "Californie" & "Stevie" released for the Side Project CARIBOU in 7Inch...

"As a discarded record collection of notorious Cafe Extase crossed their path, Left Bank constructed their own warped version of club music. The era was acid-jazz, p-funk and rare groove, the records covered in thick layers of mold and dust. Recorded a few streets from where the action once took place, Kelder Extase forms a musical resurrection of a basement that has disappeared."

After his first album on BLESSYOU "Turquoise", Mogwaa aka Seungyoung Lee from Seoul is back with another stellar contribution this time re-visiting his earlier days of musical appreciation in Reggae music. This album is another entirely instrumental work with 8 tracks, effortlessly displaying his confidence in the studio when it comes to dreamy dubbed out ambient sounds intertwined with heavy digi/stepper and even dancehall influences. A refreshing treat to the ear when it comes to contemporary productions as Mogwaa approaches the Jamaican genre with a refined aesthetic of his own. From Korea with much craft and dedication for the music, a pleasure to have him back. Mastered at Manmade mastering.

Double-LP version. The musical vortexes of Caterina Barbieri rewire time and space. Listening to the Italian composer and modular synth virtuoso has felt like traveling at light-speed and slow-motion all at once since 2017's breakthrough Patterns Of Consciousness. 2019's acclaimed Ecstatic Computation pushed even further with the lead single "Fantas". Far beyond any new age trope or modern synth trend, her music stands alone in its ecstatic intensity and cataclysmic emotional impact. Marking the debut album on her new label light-years, Barbieri now delivers her most profound work yet -- a journey through inner-space as vast as a universe and as intimate as a heartbeat. Spirit Exit is Caterina Barbieri's time machine, primarily composed with a modular synth rig she thinks of more like a mechanical fortune teller. Whereas previous releases were constructed on lengthy tours, capturing only snapshots of continually evolving works, Spirit Exit represents the producer's first album fully written and recorded in her home studio amidst Milan's two-month pandemic lockdown in 2020. It was during this extended isolation she found inspiration from female philosophers, mystics and poets spread across time, but united in their strength at cultivating vast internal worlds. St. Teresa D'Avila's foundational 16th century mystical text The Interior Castle, philosopher Rosi Braidotti's posthuman theories and the metaphysical poetry of Emily Dickinson act as thematic anchors throughout Spirit Exit. Spirit Exit crystallizes Barbieri's densely layered, blindingly bright synth arrangements while introducing stunning new elements that feel as if they've always belonged. Strings and guitar flawlessly thread into the composer's web of modular patches, while her revelatory singing voice often cuts right through them. Melodies remain Barbieri's great passion and obsession and on Spirit Exit they grow as large as planets before cracking into atoms. The sweeping "At Your Gamut" perfects the producer's dramatic, slow-burning openers, but in her first ever use of sampling, it later gets crushed, accelerated and unrecognizably transformed into the ghostly hook surging through "Terminal Clock". As the album closes on "The Landscape Listens" -- a song that approaches death with all the gentle grace of Brian Eno's "An Ending (Ascent)".

Atlas, the latest album from renowned electronic artist Laurel Halo, is a suite of sensual ambient jazz collages, designed to take the listener on a roadtrip through the subconscious. Blending both synthetic ambient textures and acoustic instrumentation, the album is a series of endlessly listenable maps, rife with hidden detail. “Belleville” - the first single on Atlas - is a disarming piano ballad, recorded in one take during the spring of 2021. It's embellished with undertows of processed vibraphone, as well as a sudden, gorgeous stack of vocal harmonies featuring Coby Sey.

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.

DJ Shadow, aka Josh Davis, could be credited with bringing newfound introspection to the gloating sounds of hip-hop. Condensed with urban oscillations and scatological beats, 1996's Endtroducing shudders with eclectic samples and aural montages that reach beyond the constraints of hip-hop style. Enhancing the mix with fundamentals of rock, soul, funk, ambient, and jazz, the modern fusions fail to go unnoticed, even by the casual listener. While most of the tracks are compiled by layering samples from vinyl treasures found in used-record bins, the production quality of the mosaic is unmatched. Darkened melodies carry throughout the album with its eye on the end of the tunnel. The narration samples come from numerous sources and keep the listener involved and waiting for resolution. With a message as fragmentary as an overheard conversation, Endtroducing conveys no apparent conclusion, but begs the mind, body, and soul for some rewind.

Early morning mist in the mountains, the lakeside ripples in the stillness. On rainy days, open the window and lie in bed. The moment when a margin is created in me. I want to feel these senses forever. » iu takahashi is a sound artist and composer living in Yokohama. She produces her works using her own voice and field recordings since 2018. This is her sixth releases.

90 Day Men spent a decade boldly in conflict with the world, catering to no one and careening toward its own abyss. Forged by Midwestern teens amid a late-90s spike in angular indie rock, the band wrote itself into the lexicon of Chicago music history. Eschewing trend and time, 90 Day Men was as ornate as it was alienating, transcending genre and embracing the strange. This 5LP set, remastered by Heba Kadry, collects the band’s three studio albums and a previously unreleased 2001 Peel Session, plus EPs, singles, and outtakes, all detailed within a 68-page oral history curated by Joan of Arc’s Tim Kinsella.

Charlemagne Palestine's newest record pairs two energetic works for carillon bells. On side A, a new piece recorded at his studio in Belgium - a high-ceiling, stuffed animal paradise he calls Charleworld - among friends and divinities. On the flip side, Blank Forms Editions' very first and long out-of-print release appears on vinyl for the first time: a cathartic street recording of his 2018 musical eulogy for his late friend Tony Conrad, performed on the bells of St. Thomas Episcopal Church where the two first met. Two mesmerizing "klanggdedangggebannggg" sessions in the Quasimodo of 53rd Street's unmistakable improvisatory style.

エヴァーグリーンなインディ・ポップの鑑と言える大変秀逸な内容です！黄金期の〈Captured Tracks〉を代表するマスターピース『Nocturne』でもお馴染み、シューゲイズ/ドリーム・ポップを愛する者たちが一度は通るであろう名バンド「Wild Nothing」による実に5年ぶりとなった最新アルバム『Hold』が堂々アナログ・リリース。2018年の前作『Indigo』に続く5枚目のスタジオ・アルバム！Molly BurchやBecca Mancari、Tommy Davidson (Beach Fossils)、Hatchieといった豪華ゲストが結集。Young GuvやNew Orderのファンにもレコメンドしたい、メロディーを前面に押し出した底抜けに明るくユーフォリックなソフィスティ/ドリーム・ポップ作品に仕上がっています。

Nocturne, the sophomore album by Wild Nothing, is a window into singer/songwriter Jack Tatum's "ideal world" of pop music. Written largely while living in Savannah, GA during 2011, the songs that became Nocturne speak to a new Wild Nothing where the lines between Jack's influences and personality have been further blurred. The album features some open references to past music just as his critically acclaimed debut Gemini did, but it's also an album that feels much less rooted in anything in particular and, well, more adult. Gemini was written before there were Wild Nothing fans or even a live band; Nocturne is different. With an unexpected fan base to turn to, Jack spent more time perfecting his craft. The obsessiveness of Nocturne is inherent in it's gentle harmonies, orchestrated synths, wandering voice, and songs that speak of his post-Gemini experiences as he explores new paradoxes of pop. And yet, Nocturne isn't obvious, it is a strange and distinctive musical beast, the product of an obsessive pop vision that creates its own reality.

music and design by buttechno vocals and graphics by Triš © Psy X records, Berlin, 2023

I met the Chinese-Jamaican record producer Philip Stanford ‘Justin’ Yap in August 1991 in Queens, New York, where he was working, driving a taxi. In person Justin was a warm, friendly man who loved music and good Chinese food, and we spent a few days together talking about his music and his life in Kingston and the USA.

In the early 1960s Justin and his brother Ivan [aka ‘Jahu’] ran the Top Deck sound system from their family’s ice cream parlour and restaurant in Barbican, Kingston. The local success of the sound system encouraged them to venture into the recording business, and by 1962 Justin had recorded singers Larry Marshall, Ephraim ‘Joe’ Henry and Ferdie Nelson. The fledgling label recorded a couple of tunes with Larry Marshall and trumpeter Baba Brooks. “Distant Drums” by Brooks and the Trenton Spence Orchestra was a version of the old Cuban composition by Ernesto Lecuona, called “Jungle Drums” [originally “Canto Karabali”, recorded in 1928]. The label enjoyed a modest local Jamaican hit in 1963, when issued on Top Deck Records as the b-side to Larry Marshall’s hit “Too Young To Love”. As a fan of easy listening musician Martin Denny, Justin had heard “Jungle Drums” on Denny’s 1959 LP “Afro-Desia”. His liking for Martin Denny would prove fruitful later, when Justin recorded the Skatalites in a mammoth all-night session in 1964 at Clement Dodd’s Studio One on Brentford Road. The site had formerly been the location of a jazz club called ‘The End’.

By 1963-1964, hundreds of ska tracks were being recorded by Clement Dodd, Arthur ‘Duke’ Reid, Vincent Edwards, Vincent Chin, Leslie Kong and Prince Buster and others. Justin had linked up with Allen ‘Bim Bim’ Scott, a friend of Clement ‘Coxson’ Dodd, owner of the Studio One label who had already recorded the musicians who became the Skatalites. Through Scott, Justin met the Skatalites: “[Scott] started to say, well, you could get the Skatalites band, which was on fire at the time. Then he got me introduced to Roland, [Alphonso] Johnny Moore, the basic band at the time, Knibb and everybody. And then we hook up with Don Drummond too. I call him maestro. He takes over. He’s in charge. He knows what he’s doin’ – he’s very professional. And when you hear my recordings with Drummond, you know he’s in charge. I remember when I drove Bim downtown, we drove to his house. First of all, I didn’t go in – Bim went in and talked to him first. I remember he took off! Just went down the road and come back with his answer – it’s OK.”

Justin and brother Ivan organised the session in November 1964 at Studio One; it lasted 18 hours. Justin and Ivan had laid on food, drink and ganja: as Justin told me “This was a monster session and it turned out the greatest recording for me. One night session, one long jam session; it was like a party!” Justin was not only scrupulous about prompt payment for the musicians and singer Jackie Opel – he actually paid double the going rate.

The length of the session also allowed for alternate takes to be recorded, but the highlights of the sessions were the five original compositions by Don Drummond – “Marcus Junior”, “The Reburial”, “Confucious”, “Chinatown” and “Smiling”. The first two are in tribute to the Pan-Africanist Marcus Garvey; “The Reburial” refers to the occasion of his interment in Jamaica in 1964, his remains having been brought from the cemetery in Kensal Green London, where he was originally buried in 1940, and reburied in King George VI Memorial Park Kingston [later renamed National Heroes Park].

Along with these originals were some well-chosen cover versions. Two came from the Duke Ellington book: “Ska-Ra-Van” is of course Duke Ellington and his trombonist Juan Tizol’s classic composition “Caravan”, while “Surftide Seven” is Ellington’s “In A Mellotone”. The LP title track “Ska-Boo-Da-Ba” is a version of Bill Doggett’s 1958 “King” US 45 “Boo-Da-Ba”. “Ringo” had also appeared on Arthur Lyman’s “Taboo” LP [1958] where it’s titled “Ringo Oiwake”. Originally it was sung by Hibari Misora – a very famous vocal song in Japan, recorded in 1952, the melody composed by Masao Yoneyama. Yet another tune copped from Lyman’s “Taboo” LP is “China Clipper”, composed by the pianist / arranger / orchestrator Paul Conrad, best known for his arrangements for 1950s English ballad singer David Whitfield. Incidentally, Conrad also recorded a classic easy listening set called “Exotic Paradise” in 1960, which fetches big money from collectors of that much-maligned ‘exotic’ genre.

The last track on this fine LP is “Lawless Street”, a feature for Roland Alphonso. Unlike the other Skatalites, Roland wasn’t a graduate of the celebrated Alpha School, like many of Jamaica’s top musicians from Bertie King to Yellowman. Alphonso was a graduate of Boys Town School in Denham Town. “Lawless Street” was another tune that was recorded twice at the session – the second version features vocal ‘peps’ and exhortations by DJ King Sporty.

The following year, the Skatalites again recorded for Justin at Clement Dodd’s Studio One and at the studio of the Jamaica Broadcasting Corporation [JBC]; from these sessions came tunes like “Red For Danger” and “Yogi Man”. Justin’s last session produced further brilliant cuts with Roland Alphonso – a superb version of jazz pianist Ray Bryant’s “Shake A Lady” and a hypnotically relentless version of Henry Mancini’s theme for the Peter Sellers film “A Shot in The Dark”. He also issued a great LP by the soulful Bajan singer Jackie Opel.

By late 1966, Justin emigrated to the USA, settling permanently in New York. There he took up US citizenship and was called up to serve in the US Army in Vietnam, In the early 1970s he worked in computers and eventually drove a New York cab. In his all too brief involvement in the competitive Jamaican music business he certainly left his mark as a producer. He produced some of the best ska ever made, and the LP reissued here is perhaps the most coherent LP in that genre, deriving as it does from a single session.
The celebrated record producer at Randy’s Studio, Clive Chin, who actually introduced me to Justin in the summer of 1991, had this to say to writer Heather Augustyn:

“It wasn’t the fact that they [the musicians] really love Justin; it was the fact that Justin used to pay them the right money and make them comfortable. Make sure them have them smoke, them food, them drink, and after them finish they got paid.” Unlike many other producers, Justin actually attended the sessions.

On a personal note, I was working in Spain during 1966- 1969 when the LP was released in the UK on Doctor Bird Records. What actually got me listening to the record again – in particular the Drummond compositions – was a concert I attended in late 1969 at the Lyceum in central London, performed by the jazz-rock band ‘East Of Eden’. During that concert they played an extended version of “Marcus Junior”. At first the rock treatment – led by electric violin and soprano sax – confused me. Then when that group issued a single with “Marcus Junior” as the b-side of their UK hit “Jig-A-Jig” on UK Deram, I bought that record, and there was the correct composer credit of ‘Drummond’ on the label. It sent me straight back to the original Doctor Bird LP.

In the late 1990s Justin was diagnosed with liver cancer, and although he’d returned to Jamaica, he travelled often to the US for treatment. During the time I spent with Justin, we had many conversations about music and life – as I noted earlier he was a warm and friendly guide to New York. Through Justin I got to know a great Chinese restaurant on the Bowery, where I had the best Chinese style spare ribs and cabbage I’ve ever tasted. I was also happy to find in Kingston the original tape of “Distant Drums” which I was able to return to Justin in early 1993. In conclusion I’m still grateful for everything he showed me – his kind personality, fascinating conversation and most of all, for the great music he produced. It stands as his defining legacy in Jamaican music history.

Steve Barrow / October 2023 

A much requested reissue of Cashmere Cat’s classic 2014 LUCKYME® EP, prior to production for Ariana Grande, Bladee, The Kid Laroi, SOPHIE, The Weeknd, Kanye West, FKA Twigs, Travis Scott, Charli XCX, Kehlani, Juice World & many more.

Almost ten years on this record still stands the test of time, every beat and electronic contortion bursting with character. The expressive waves of autotune and electro thump of previous single 'With Me' give way to the stuttering rhythms of 'Pearls' and the feather-light drip of 'Rice Rain'. Title track 'Wedding Bells' is the standout though, sultry voices and shiny, delicate production mixing with the thick low-end of 00s hip hop for infectious results.

The compilation that started the renaissance. In 2002 Audika Records entered into an exclusive licensing agreement with the estate of Arthur Russell to compile and issue previously unreleased and out of print material from Arthur’s vast archive. This first album Calling Out Of Context, features 12 previously unreleased tracks of Buddhist Bubblegum Alt Disco Pop recorded during Arthur’s prime years 1985-90.

Diva of the diode’ Suzanne Ciani pairs up with Jonathan Fitoussi on ‘Golden Apples Of The Sun’, a whirring homage to W.B. Yeats and celebration of the timeless beauty of Buchla, Moog and EMS synthesisers. Recorded largely in Bolinas, California overlooking the Pacific Ocean, the waveforms of the modular synths share the hypnotic ebb and flow of the water, coaxing the listener into a buoyant trance. The term ‘Golden Apples Of The Sun’ is taken from Yeats’ poem ‘The Song Of Wandering Aengus’, which Ciani recites in full on the title track, turning his dreamlike imagery into almost extraterrestrial yearning

You Always Will Be is the new album by artist Dylan Henner. The follow up to 2020's well received 'The Invention of the Human', the new record touches on themes of nostalgia & longing for times passed; innocence yielding hardships and vice versa; ageing; the soul; life changes; parents and children; loss; love. Dylan says: "The piece tells the story of a single life, from birth to death. I've been thinking about the passage of life a lot recently as I lost all four of my grandparents but celebrated the birth of my daughter all within a short period of time. The brevity and preciousness of being really hit me." The vinyl release consists of a ~ 40 min piece split across two sides, while the digital release features extended versions of the music in that piece, making up 10 individual tracks. Anyone that purchases the full album from our bandcamp will be credited with the ~ 40 min piece automatically. Mastered by Rashad Becker Artwork designed by Dimitri Erhard

ZZK Records presents Mito y Comadre’s Guajirando, a journey into the reinvention of traditional Venezuelan music For years the ancestral riches of the folklore, culture and traditions of the indigenous peoples of Latin America have withstood the passing of time and the different impositions and trends of an increasingly globalized world that seems intent on pushing them into oblivion. Their fight to stay true to their roots and preserve their legacy means there is more and more interest in sharing these treasures with the world. Guajirando comes from this interest in finding recognition in our roots. This is the debut record from Mito y Comadre, the Venezuelan synth-pop and electronic roots group who with these nine previously unreleased songs take us on a journey through the sights and sounds of their country. The fusion of electronic sounds pays homage to a rarely explored music, one that is profoundly rooted in the territory, creating a dialogue between native percussions and rhythms such as the quitiplás, the malembe and the quichimba of Barlovento, the macizón and perra of the Caribbean coast, the calypso of the heartland, the flauta guajira and the gaita oriental, among other instruments. Backed by machines, electronic elements and the production of Grammy winner Christian Castagno (Bomba Estéreo, Systema Solar, Iggy Pop, Arcade Fire), they seek to bring visibility to these traditional rhythms with contemporary tendencies, creating a visionary fusion that places them on the scene as one of the most promising proponents of experimental Venezuelan music today.

My Strong Will is a new album of "Ethiopian Classical Music" by Girma Yifrashewa. Recorded with Bulgarian musicians and the Sofia Philharmonic Orchestra in Sofia, Bulgaria, the album is a return to where Yifrashewa completed his own conservatory training in the late 1980s and early 1990s, across both sides of the fall of Communism. Guided by Yifrashewa's piano, these chamber works bring the music of Ethiopia into a Western Classical format, uncovering meditative and emotional new vistas for both traditions.