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Exploring the gradient between acoustic realism and synthetic reality, real landscapes and fantasy, and creating fantastic re-imaginings of these landscapes. There is also a process of creating scenes to play out these fantasies: extrapolating from the gestures of the landscape and its indigenous nature to create musical scenes of parallel and sympathetic resonance. Gesture responding to gesture, widening the circle until completion. Magical realism as a piece of the dreaming state, the vision state, projected onto the canvas of ordinary perceived reality.

Field recordings, keyboards, dulcimer, and Irish low whistle.

Art and music by Sean Conrad. Recorded in March 2019.
Mastered at The Gentle Ways.
Thanks to Rosa, Lawrence, Ian, and yourself. Much love to all.

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North London’s Lazy H will release his new EP “Where’s Bill?” via respected technicolour beats imprint Stereoptico on the 27th of November 2019.

Deftly balancing melody, harmony, sweetly swung drums and bass weight, Lazy’s widescreen electronics are a breath of fresh air. Happiest exploring the grey areas between genres, he follows in the footsteps of respected elders Natureboy Flako, Photay and Chrome Sparks, displaying the same flair for conjuring highly idiosyncratic and addictive grooves and effortlessly spanning tempos and moods. It was this spark that earned him a coveted spot in Gilles Peterson and Brownswood’s grassroots talent discovery and development program in 2018-19: Future Bubblers.

The producer, songwriter and multi-instrumentalist has previously worked with L-Vis 1990 (Night Slugs), Reflec (Clergy, Lobster Theramin), and singer songwriters Benjamin Francis Leftwich, Collard and Ronika.

Alongside the release of “Where’s Bill?” Lazy H has also built a new live show combining the freedom of real instrumentalists and improvisation with live sampling, synthesizers and drum machines.

WHAT THE PRESS RELEASE SAYS:

Noita Official Soundtrack vol. 1 Contains select tracks from the first areas of Noita, along with some sweet out takes!

The soundtrack is split into multiple adventures, two longer ones: Side A & Side B for a longer thought out venture into the musical depths of the magical caves and separate tracks for convenient shorter trips into the kosmos!

Get the game here store.steampowered.com/app/881100/Noita/

Listen to more From Grotto: fromgrotto.bandcamp.com
Credits
Niilo Takalainen - guitar, music direction and mixing
Joonas Turner - keyboards, percussion and weird noises
Pekka Takalainen - drums, percussion
Riku Hyötyläinen - bass, flute, percussion
Antti Pasonen - guitar, percussion

Petri Majuri - Recording, Mixing and Mastering

Recorded mixed and mastered at E-studio.
Cover art by Arvi Teikari and Olli Harjola.

WHAT THE PRESS RELEASE SAYS:

On the remarkable new album Ragmala – A Garland of Ragas, Rudolph’s Go: Organic Orchestra and Brooklyn Raga Massive form a singular ensemble that vibrantly bridges musical and cultural distinctions. The result is a breathtaking set of music that carves an egalitarian and communal way forward while reverberating with echoes of the recent and ancient past. Drawing parallels with another ground-breaking and singular epic, Ragmala has already been referred to as a Bitches Brew for the 21st century (Ahmet Ali Arslan of Açık Radyo Istanbul).

The members of the adventurous BRM collective are deeply steeped in the traditions of Indian classical music. They refuse, however, to be restricted by it; the idea behind the collective, birthed in 2012 in a Prospect Heights bar, is to open the often rigid and hierarchical culture of the music to experimentation and cross-cultural collaboration. This collaboration marks the collective’s most ambitious effort to date in the musical movement that the New York Times, Wall Street Journal and New Yorker have recognized as a “Raga Renaissance.”

“This album feels like the culmination of everything I’ve been reaching for throughout my career,” says Rudolph, no small claim from someone who’s been a pioneering voice in jazz and world music for more than 40 years. “Through my music I want to hear the humanity of all these different musicians shine through, and with their voices bring forth something that’s never existed before.”

According to BRM guitarist David Ellenbogen, who co-produced Ragmala, the possibilities offered by Rudolph’s music scratched the very itch that led many of them into BRM’s more exploratory fold to begin with. “I always had a theory that Indian Classical, jazz, West African music and so on could have a synergistic relationship,” Ellenbogen says. “But after spending decades looking through record libraries, I found very few recordings lived up to the potential of these great traditions. I've spoken to other musicians on this album and they said the same thing when they heard these tracks: This is the music we've been searching for.” 

Credits
Jay Ghandi - bansuri
Arun Ramamurthy - violin
Trina Basu - violin
Samarth Nagarkar - vocal
Neel Murgai - rhythm sitar, overtone singing
Sameer Gupta - tabla
David Ellenbogen - electric rhythm guitar
Abhik Mukherjee - sitar
Bala Skandan - mridangam
Mari Tanaka - tampura

Kaoru Watanabe - c flute, fue, noh kan
Michel Gentile - c flute
Sylvain Leroux - chromatic tambin, tambin, c flute
Ze Luis - c and alto flute
Mariano Gil - bass flute

Avram Fefer - tenor saxophone, bass clarinet
Sean Sonderegger - bass and contrabass clarinet, soprano saxophone
Sara Schoenbeck - bassoon
Ivan Barenboim - b flat clarinet

Charles Burnham - violin
Julianne Carney-Chung - violin
Sana Nagano - violin
Gwen Laster - violin
Richard Carr - violin
Stephanie Griffin - viola
Leco Reis - contrabass

Graham Haynes - cornet, flugelhorn, kudu horn, bamboo vaccine
Stephen Haynes - cornet, flugelhorn, solo alto, pocket trumpet, didgeridoo, conch, kudu horn
Peter Zummo - trombone, didgeridoo, conch, kudu horn
Libby Schwartz - french horn

Mia Theodoratus - harp
Marco Cappelli - electric and acoustic guitars
Alexis Marcelo - keyboards
Damon Banks - electric bass

Harris Eisenstadt - bata (iya, itotele, okonkolo)
Rogerio Boccato - caxixi, mineiro, temple blocks, bells, wood box surdo
Hamid Drake - drum kit, okonkolo
Adam Rudolph - iya, itotele

Special Guests
Hassan Hakmoun - sintir, vocal
Abderahim Hakmoun - qarqaba, vocal

Music composed and improvisationally conducted by Adam Rudolph (Migration Music BMI)
Mousa Azure and Chakawali by Hassan Hakmoun and Adam Rudolph (Hakmoun Music BMI, Migration Music BMI)
Signal Rhythms arranged for Bata ensemble by Adam Rudolph and Harris Eisenstadt.
All music organically arranged and orchestrated by Adam Rudolph.
Recorded December 2018 at Orange Music Studio, New Jersey.
Recording, mix and mastering by James Dellatacoma.
Studio assistant - Mas Yamagata
Design by Sylvain Leroux.
Paintings by Nancy Jackson.
Cosmogram score materials by Adam Rudolph.
Sanskrit calligraphy by Subrata Basu.
Produced by Adam Rudolph, Mas Yamagata and David Ellenbogen.
Special thanks to Bill Laswell, C. Daniel Dawson, Michael Lucio Sternbach, Tim, Dawn and Elke at The Rubin Museum of Art and Gabe, Justin and the team at Pioneer Works.
Dedicated to our families: Those here, those gone, and those still to come.
We are grateful to Yusef Lateef and Don Cherry who opened the doors to the world for us all.

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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 Jew living in Tel Aviv.

The album is the rewards of a self-imposed mission to discover Eyal El Wahab's Yemeni roots.