Guy Buttery Kanada Narahari
Nadi

Reissue of Edson Natale’s genre-challenging masterpiece from 1990. The album combines traditional acoustic Brazilian music with ambient electronics, all the while maintaining a strong pop sensibility. The album features Mitar Subotić (Rex Ilusivii) alongside some of Brazil's finest players and vocalists. Pressed on 180 gram vinyl in a gatefold cover with the original Portugese lyrics and liner notes.

La Grande Bleue - Musiques Imaginaires de la Méditerranée is a unique private press album recorded in the early 1980's in Montpellier, South of France, by a group of friends from different musical backgrounds.Enjoy a percussive folk-jazz trip through this one-of-a-kind imaginary folklore, between the Mediterranean world (Greece, Maghreb, Balkans...), global influences (Africa, India, Middle East) and homemade instruments. Official remastered reissue.

Fabled as the city where dreams come to thrive or die, Johannesburg is forever pumping out the life-giving force of criss-crossing sonic tributaries. As this collection of specially-recorded new music shows, every generation must discover for itself what perfecting the alchemy of that expression entails. Indaba Is - produced and managed by pianist Thandi Ntuli and The Brother Moves On bandleader Siyabonga Mthembu, tackles that inquiry with refreshing insight.Overall, the pair also provided enabling briefs which harnessed the collective energy of scenes often seen as operating centrifugally to Johannesburg’s all-consuming pull, or a little further down in its tiers of visibility. There are several examples where this approach yields astounding results.Indaba Is by Various Artists

Le temps lent by Enfant MagiqueSlowing down time with Eric GingrasThe simple acoustic guitar plucks out a lulling back-and-forth, accompanying a voice that seems to arrive from another, far-off era. Elsewhere, the guitar moves around in the background, repetitive and drawn-out. But here, alone, it takes the time to find its rightful place, much like the deceptive simplicity of a hand-made quilt. This humbly whimsical patchwork seeks out form, succeeds, and is reunited with the voice. Articulate and elastic, it sometimes crisscrosses, sometimes circumnavigates this landscape of song both subtle and rich. Its clear lines of flight point to a remote village and its recent arrivals, a motley crew of hybrid things and beings: woolly sheep, beat-up robots, small synthetic drums, minimalist jaw harps, obsessive alarms, light footsteps on a gravel path, a few propellers, many layers of slow time.The sea’s waves break against this shoreline where our mutant from the 1970s seems to have washed up. He isn’t looking for a fight, and he isn’t looking to show off. However, as the custodian of utopian leftovers from an open agreement between artifice and artful making, he is clever and skillful in a thousand and one little ways. His voice is stubbornly discreet, but also able to take flight, carrying with it words devoid of preciosity and over-categorization. This is a voice that prefers attention to affectation. Bresson-like, it knows how to recount when recounting is needed, articulating both quivering fatigue and deep doubt.Joined now by others, the mutant feels supported, loved. He withdraws, and an assertive, childlike voice moves into the foreground. The mutant accompanies, discreet but fully present. And what better medium for this finely woven poetry and play of childhood’s expression, both clumsy and bold.- Anne Lardeux (translated from French by Simon Brown)

Welcome to the world of Night Time Transmissions -- here/hear the anxious calls of sleepless tenants, interdisciplinary collaborations, night walks, urgent canons and chants of cosmic healing. Bergur Anderson's first album is an ode to the voice, and a deep dive into the rich waters of polyphony and polyphonic storytelling.