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‘Across thirteen tracks, Ganavya’s warm, ornate Tamil vocals are set to bubbling modular synths and breathy woodwind flutes, producing a mix of spiritual jazz and ambient experimentalism.
‘Producer Floating Points and multi-instrumentalist Leafcutter John provide eerie synth textures throughout, playing like a whisper of digital wind against Ganavya’s yearning vocals on Not in An Anthropological Mood, or twinkling through arpeggios that mirror her rhythmic sargam vocalisations — an ornamental method of singing the names of musical notes — on the expansive Seal. Countering the electronics are a range of flutes played by Kofi Flexxx, reflecting Ganavya’s breath in their earthy tones on tracks such as El Kebda, Let it Go, while Alina Bzhezhinska’s plaintive harp on Forgive Me My provides gorgeous ornamentation to long, looping vocal phrases.
‘The overall effect creates an album that revels in downtempo quietude. The mood is mostly dark and restrained but on the final number, I Walk Again, Eyes Towards The Sky, Ganavya soars, melismatically leaping to push her voice almost to breaking point in a fierce show of emotion. It is an unguarded moment of release that reveals the range of Ganavya’s talent as she pushes traditional craft into a newly evocative and atmospheric direction’ (The Guardian).
Presented by Shabaka Hutchings’ Native Rebel label.
Newly remastered from the original tapes… in the process unearthing four songs from the same sessions, filed away in 1971, but never released till now.
Arguably his masterpiece; certainly a holy grail even amongst his most sought-after LPs. Originally released in 1972 by SR Records. With two compositions by the great bassist Giovanni Tommaso.
‘A dreamy album with the deepest, most strung-out psychedelic funk sounds recorded in Italy during the early 70s; laden with breakbeats and grooves, in lush arrangements and insane vocal themes by Alessandro Alessandroni’s Cantori Moderni chorus.’
The ‘original full length unedited mix’ — all ten delirious minutes — of this worldwide hit from 1979, when it lodged in the UK top twenty for eight straight weeks, even making it onto Top Of The Pops.
Deep, intrepid, alchemical communion between West African kora and European classical guitar.
‘It’s a remarkable album,’ says Lucy Durán. ‘It’s the furthest away that Ballaké has gone from his own idiom and it’s brilliant. Not world music, it’s in a totally different realm, entering new territory.’
The original album cut AAA (fully analogue) from original master tape; and a bonus LP including previously unreleased alternate versions and outtakes from the recording sessions.
New Face In Hell… Pay Your Rates… Container Drivers… English Scheme… Gramme Friday…
Landmark British reggae from 1978 — when SP supported the Wailers on the Kaya tour — out of the Handsworth district of Birmingham. Beloved by punks, and including Prodigal Son and of course — skewering the National Front — Ku Klux Klan, the album is filled with moody pointers to the 1981 riots.