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EMOTIONAL RESCUE

The Konduko 7" series ends with the 4th and possibly best single with Noel Williams aka King Sporty's cover version of Bob Marley's "Them Belly Full", here released as "Dance To The Music".

First released on the Natty Dread album of 1974, it was Marley's first album working away from Peter Tosh and Bunny Wailer and was a spiritually charged political and social statement, also featuring classics "No Women, No Cry", "Lively Up Yourself" and "Rebel Music".

As an associate and friend from their Studio One days, William's version makes sense, in the tradition of covers throughout reggae's history. Appearing a year late, the 1975 single came in Jamaican and US pressings, a nod to Konduko's roots, having started in Kingston before the move to Miami in the earlier part of the decade.

A warning against allowing the poor to go hungry, with the prophetic 'a hungry mob is an angry mob', the cover includes a lot of the Miami feel Sporty was incorporating. With instrumentation again from the Ocean Liners KC And Sunshine backing band, the horns and guitar raise the soul, with counter keys, Part 1 is a straight vocal, while Part 2 is close to a Version but more than an instrumental and in its title, shows its funk and soul background too. A perfect end to the series, the uplifting tracking belies the powerful message, bringing the Miami swing to the JA groove once more. 


STAFF COMMENTS

Matt says: More from King Sporty's early period with a riotous cover of Bob Marley's "Them Belly Full". One of two releases on Konduko this week - both essential collectors items and strong relics of reggae-crossover history.

TRACK LISTING

Side 1
1. Dance To The Music (part 1)
Side 2
1. Dance To The Music (part 2) 

The second 7" in the Konduko series reissues this mega-rarity, Noel Williams aka King Sporty's own version of Bob Marley's Concrete Jungle. The connection between Marley and Williams was long-standing, both living in the tenements of West Kingston and gaining their musical foundations as part of the Studio One, that would reach fruition when they later co-wrote Buffalo Soldier together.

Clement Dodd's organisation was more than a label, running a sound system, studio, pressing plant and its own distribution. As Deejay on the system and later releasing his debut single on the label, William's learnt his craft, taking this knowledge to Miami and replicating much - expanding the Konduko label to encompass studio, plant and distribution.

First recorded with Lee Perry, Marley's 1971 original was famously rerecorded for The Wailers move to Island Records and their 1973 album, Catch A Fire. Here, a rare Williams' vocal is backed with horns atop a reggae-funk groove. The songs message of struggle is universal and everlasting, even with a touch of Miami swing.

This is backed by Young Girl, a single in its own right, from the same period. A rocksteady, breakbeat shuffle bely the songs roots in late 60s soul, with a powerful counterpoint vocal from wife and partner, Betty Wright. A collector's item itself, together they are essential.

STAFF COMMENTS

Matt says: One of two King Sporty 7"s in this week. Hard to pick a favourite - they're both killer. And so nice to see his pre-disco evolution from Jamaica, to Miami and with more reggae focussed stylings from what would flavour his later discography. The Bob Marley and Lee Perry connection also makes these two 7"s highly desirable.

TRACK LISTING

Side 1
1. Concrete Jungle 
Side 2
1. Young Girl

Roy Of The Ravers

White Line Sunrise II.I (Le Roy Soleil)

Roy Of The Ravers returns! - all rejoice! The cheeky chap of the acid terraces lays down a rather spectacular double album for Emotional Rescue. Alongside the now trademark emotive 303 use, we now hear Roy's own voice across a couple of tracks more suited to the long playing format. 

It's a chance for the much hyped producer to show us sides to his personality cut off until now. It's arrestingly dramatic, containing abrasive sound design and brutal drum manipulations but these moments of tension or drama often give way to  lighter, melodic and more playful inflections. Refracted memories of rave, breakbeat and other tropes of classic warehouse music are given the ROTR gloss. It's got depth, charisma and fizzes like a lump of phosphore burning in oxygen. Highly recommended. 


STAFF COMMENTS

Matt says: After concocting THE acid anthem of modern times ("Emotinium"), ROTR returns in delicious, long playing format. The wild box jams are still present, but it also shows off some quite sophisticated arrangements from the prized 303 technician. Excellent stuff.

TRACK LISTING

The Smell Of Orange Peel (7:26)
Kliszewicz Klopcic Klim (4:58)
City Limits (5:27)
Feathers (6:12)
Versace 101624 (13:46)
The Clock House (Pt 1) (1:21)
EL-9400 (8:07)
My Brother & His Mate (2:36)

Happenstance can be a fortuitous element. A union-funded single discovered in a dusty store, a long disbanded band found, leads to unreleased post punk dubs in a box of unreleased demos.

Formed during the mid-80s in the downbeat town of Walsall, their music is a blend of disparate influences from 50's crooners, blues and reggae to Killing Joke and The Bunnymen; Ron's Neighbours were out of step with the perfect pop of the C86 indie generation.

Their only single - "To The Fight" - a split 7" was supported by the Trade Union Resource Centre, while many gigs were benefits for striking miners, leading to a loyal local following.

Engineered by Ozzy Osbourne's brother Tony, tracks were recorded at an 8 track bedroom / home studio, while a terraced house served as rehearsal space. Here Ron Next Door was born. When a tape recorder was left running it captured the long-suffering neighbour for posterity. His outburst gave the band and song, its name.

Experimenting with drum machines, the resultant jam track, here in its "Alternative Mix", languished unheard until now. Ron's 'Black Country' tones lead to driving bass / percussion against crashing Stratocasters and repeating, refrained vox - a post punk dub turned symphony.

The B side, Sitting On Top of the World, is an indie anthem, becoming their theme, a blend of grandiose and banal that characterised their songs.

TRACK LISTING

A1. Ron Next Door (alternative Mix)
B1. Sitting On Top Of The World 

Carl Weingarten and Multiphase Records return to Emotional Rescue with a  collection of the music of Delay Tactics and their live, reel-to-reel and collaborative experimentation, that spawned two remarkable albums.

After meeting guitarist Reed Nesbit from the St. Louis new wave scene , Weingarten joined forces for a series of concerts, performing with guitars running through tape looping delay systems similar to Robert Fripp's 'Frippertronics' ideals.

Producer and engineer Walter Whitney joined to record the debut album, Out-Pop Options (1982), when it became clear his skills were a perfect addition. Recording to 4-track analog tape, the sound developed from drone based to proto-techno pop. Digital technology, drum machines, guitar pedals and digital effects offered creative freedom that resulted in rhythmic, kraut inspired pieces.

These Kosmiche leanings retain a unique US aesthetic and continued after Nesbit's departure. When guitarist David Udell joined for Any Questions? (1984), greater explorations - now recorded to 8 track - pushed the envelope to a wider sound.

In an age of endless holy grails, the work of Delay Tactics has a resonance, spanning Eno to Ashra but with a place and sense beyond Europe and towards to new age and fourth world leanings of Laraaji, Hassel and Karma.

TRACK LISTING

A1. Yellow Samba
A2. Hands On Fire
A3. Cymbolia
A4. Oyster
A5. Basic Tactic
A6. Almost Touching
B1. Kites
B2. Journey To Omdurman
B3. Under The Ice
B4. Chasing Moroder
B5. Spring Man
B6. Woman In A Room (Of Colors)

The 3rd part (of 4) collating the music of International Noise Orchestra, Marching In Time 3 again highlights the breath of music this mainly studio project presented between 1987 and 1991.

Starting with The Atlantic Swimmer, Richard Strange leads with his ubiquitous punk poet delivery across pure late0s Balearics. Out on his own, sport or ambition, all atop strident guitar, one drop; funk drum and bass interplay.

The global music anthem Far Away is the first of 3 tracks by alias Internationales Gerauschorchester. Flowing like street soul remixes of Nusrat Fateh Ali Khan, as Rama Mani's vocals envelop and rise above the syncopation meets world love.

On the flip, the band shows their rock roots of Gimme More Lovin'. The vocal sees Strange in tandem with founders the Gemini Brothers behind the desk, as Ulrich on keys and Wolfgang on guitar let it all swing.

Finally, when you have a floating ensemble featuring master percussionists from the Indian sub-continent in Ramesh Shotham, R. A. Rajagopal, T. A. S. Man and T. N. Shashikumar then I Speak Your Body Electric with it's hazy, cosmic mid-tempo lure and the closing instrumental of eastern melodics of Veena Via Video, all ends in perfection.

STAFF COMMENTS

Patrick says: Volume 3 of ERC's INO retrospective lands, showcasing the hyperactive brilliance of the group to the fullest. Cosmic rock, Fairlight funk, DX7 fusion, Konnakol dub and sitar drama all tumble together in the INO mixing bowl!

TRACK LISTING

A1. The Atlantic Swimmer
A2. Far Away
B1. Listen/Gimme More Lovin
B2. I Speak Your Body Electric
B3. Veena Via Video

Emotional Rescue presents the 2nd EP (of 4) highlighting the music of International Noise Orchestra. Centered around Ulrich Hornberg and Wolfgang Sperner, aka producers Gemini Brothers, this world "supergroup" released 5 LPs and 2 EPs in just 4 years.

Again showcasing their rhythm, calm and power, a metaphysical, real sensitivity and intellectualism, all wrapped around the groove. Starting with their own instrumental remix of Gimme Move Lovin', this little known 12" B side has long been a play for "heads" and allows the band's Pop Balearic, esoteric meets electronics to shine, layering Fairlight samples over a funky bass 4/4 around some '88 Amnesia pool dive.

Next the anthem, Yeh Naina Yaad Hai, as Asha Bhosle's beautiful vocals from the Manzil Manzil soundtrack, are mixed with drum machines to create a dream Bollywood meeting.

Again side two features 3 songs and starts like EP 1 with Glynnis Thomas (Savage Progress) vocals, now atop a sax laden Synth Pop brain, mind and body dance. Alias, Internationales Gerauschorchester offer wonderful jazz leanings for A Lulu A Bobe Danz, where the "bop" takes a leftfield embrace. To close then, Mr Richard Strange returns, invoking The Driving Force, returning to the idiosyncratic, percussive Earthbeat. Listen!

TRACK LISTING

A1. Gimme More Lovin (instrumental Muezzin Mix)
A2. Yeh Naina Yaad Hai
B1. Sick Of Love
B2. A Lulu A Bobe Danz
B3. Listen To The Earthbeat/The Driving Force

The King & City reissue series continues with Paul Robinson's disco boogie jam Come On Sister. Moving from the Lovers sound of his early productions, his first solo recording was aimed straight at the blues, clubs and pirate stations of South London and beyond - a prolific artist on the rise.

Appearing as a 13 year old protegee drummer in The Simeons, recording for the legendary Freedom Sounds label out of Kingston; to forming the influential Roots / Lovers Rock outfit One Blood; then vocalist in the Nick Straker Band; and through to a 30 year career as "dubplate" producer / singer Barry Boom, Robinson is a man of talents and serious legacy.

This highly sought after debut, part of Neville King and Lee Laing's family of labels, followed releases in One Blood and productions for female Lovers groups Blood Sisters and Charisma. A pure disco boogie party cut, Come On Sister sees the Robinson family hit the Brit funk.

In label style, the flip is given the Discomix treatment, here by up and coming digger, dealer and producer, Bruno (Perfect Lives). Letting the horns, dub bass and drums build in anticipation before the keys and guitar join and it all drops to Robinson's vocals - Come On Sister.

TRACK LISTING

A1. Come On Sister
A2. Come On Sister (instrumental)
B1. Come On Sister (Bruno Discomix) 

Emotional Rescue presents a collection of works by the founding father of the modern drum movement, Glen Velez. Collated from his first 3 solo albums from 1985 to 1989, "Sweet Season" is a snapshot in to the pioneering composing and performance of this four-time Grammy winner. Born in 1949, of Mexican American ancestry, Velez grew up in Texas before moving to New York in 1967. Playing jazz on the drums he soon gravitated to hand drums from around the world (frame drums in particular), seeking out teachers from many different musical traditions.

Among the many instruments Velez favours are the Irish bodhran, the Brazilian pandeiro, the Arabic riq, the North African bendir and the Azerbaijani ghaval. Although these instruments are similar in construction they have their own playing techniques that open new possibilities.

"Sweet Season" highlights this vocabulary, mixing and adapting techniques from various cultures to develop new ones. The music, often composed as cross-cultural ensembles, has a particular fondness for polyrhythms - superimposing different meters simultaneously - while incorporating Stepping Split-tone and Central Asian Overtone singing to complete the global horizons.

This new genre of contemporary drumming has been hugely influential and seen Velez work with the likes of John Cage and Steve Reich, as well as teaching his virtuosic combinations of hand movements and finger techniques to many emerging players.

TRACK LISTING

A1. Ramana
A2. Bohdran
A3. Amazonas
B1. Blue Castle
B2. Rain
B3. Semi-Piliated Human
C1. Drala
C2. Bendir
D1. Sweat Season
D2. Seven Heaven
D3. Silver Lining

Emotional Rescue completes its trilogy exploring the music of Vox Populi with "Alternatif Realisme", highlighting the music that followed 1989's "Aither" (ERC030) as they transitioned from ethno-industrial roots towards a more expressive "world" sound, until the band's dislocation in 1994.

The band's development saw original members Axel Kyrou (electronics), Mitra (vocals) and Arash Khalatbari (percussion) augmented by a number of guest musicians, bringing an energy to their spontaneous recordings sessions at their studio.

The additional vocals of Dierdre Dubous is indicative of this change. Her onomatopoeia singing features heavily, lending songs "Letsam La", "Chaque Jour Est Un Bon Jour" and the ethereal "She Walks So Easily Across The Sky" a hypnotic beauty which perfectly compliments the soaring vocals of long time member Mitra, who steals the show on "Chaque Jour Est Un Bon Jour", "Razaye Axel Jube Hast" and closing paean "Chirine". Surrounding instrumentals - often built out of long improvisational jamming - provide an irresistible backdrop to the vocal numbers. "Soleymani Dub" with its Laswell dub groove is a clear stand out, while the melodics of "Vapanda's Electric Garden" come on like a wonderful Woo outtake.

Largely unreleased, the recordings were a step outside of the changing shift towards a more digital sound. The album captures Vox Populi! mixing their atmospheric mastery with heartfelt arias, both familiar and completely unique.

TRACK LISTING

A1. Letsam La
A2. Chaque Jour Est Un Bon Jour
A3. Soleymani Dub
A4. Sunshine Boy & The Time Keeper
A5. Chapati Train
A6. Tu Renverses Encore!
A7. Getting To Know The Moon
B1. Au Dessus De La Falaise
B2. Razaye Axel Jube Hast
B3. Vapanda's Electric Garden
B4. She Walks So Easily Across The Sky
B5. Chirine

At last, the wondrous, expansive and meditative music of Spanish musician, Luis Paniagua is explored with this Emotional Rescue reissue of his classic 1987 album, "Neptuno".
Released on the now cult El Cometa de Madrid label - itself a sub label of Grabaciones Accidentales (Finas Africae/Suso Saiz/Javier Bergia) - the album is another is the canon of exploratory new age, world and ambient recordings that came out of Spain during the formative period as the country returned to democracy.
Luis Paniagua, a musician, composer and producer, was born in Madrid, in 1957. His first associated release was in 1974 to record the pioneering album "Music of Ancient Greece" as a member of Atrium Musicae. As a member of Babia, alongside Luis Delgado (ERC045), he released the sought after folk and fusion album "Oriente - Occidente" in 1982, before dedicating exclusively to compose his own music with many instruments of the world.

In late summer 1987, his friend and now creator behind the El Cometa de Madrid label, Delgado proposed to record an album of music in Paniagua's attic in Madrid. Bringing his eight-track they recorded the music found here in a mere few days. Predominantly written by Paniagua - the rhythmic Gacelle being co-written with Don Cherry and Cancion De Senegal - and produced with Delgado, the album is, in his own words, a journey to the balm of love, truth, beauty and purity.
Exploring new age music, world music and spiritual music without being of a specific religion, Neptuno, flows as one. Centred on the beautiful multi-instrumental mastery by Paniagua, including percussion, chimes, guimbri, sitar and vocals, he is joined by friends and family on keys, flute and drums.
Performing today, with 16 albums released and counting, Luis Paniagua's dedicates himself through music. To discover that has always been within.

TRACK LISTING

Side 1

1. "Preparativos Para El Viaje"
2. "Neptuno"
3. "La Verdad De Lo Pequeno"
4. "Paseo Celeste"

Side 2

1. "Gacelle"
2. "Lo Inevitable"
3. "Aqui Y Ahora"
4. "Lo Ves?, Ya Te Lo Decia"

Emotional Rescue returns to the music of Elaine Kibaro with a special 7" single to accompany the Pour L'Amour album collection (ERC066). Here then are two bonus versions of songs from the LP with a unique Arabic recording of her "hit" Aurore and also, the previously unreleased on vinyl instrumental version of her balearic / boogie jam, Ne Doute Pas.

Having moved from Tunisia to France at the age of 13, Kibaro's duel sensibility has long been apparent in her music and performance. The early success of her debut 7" De L'autre Cote Du Miroir in 1977, was soon followed by her most 'successful' song in Aurore, first released as a 7" in 1978, before appearing again as 9 minute extended version on the 1979 Miroirs LP.

In the same year she recorded a special 7" single on the little known World Music label. Singing the lyrics in Arabic - renamed here to its true translation - much else remained the same. The music of the original, the spoken intro soon gives way to what is essentially a leftfield disco groove, with building strings, funky bass and some late archetypal 70s Euro drumming. Atop this the vocals are delivered in Kibaro's ubiquitous chanson delivery, her heartfelt singing, the congos breakdown and then chorus, as the songs builds, all lead to head-nodding smiles all round.

With this is Ne Doute Pas. A stand out from Pour L'Amour, the vocal version appeared in 1989 as a single and on the now sought after, Kiroel album. This instrumental simply let's the music shine. A Linn rise and fall bassline, soft, layered keys and mode horns are run and rerun in a catchy, incessant flow like a PWL demo. The 10 years between the 2 tracks is apparent in the instrumentation but the link between the two - Kibaro herself - is clear and worth enjoying for that

TRACK LISTING

A1. Fajrann
B1. Ne Doute Pas (instrumental)

The spiritual and uplifting music of Clifford White is highlighted with two of his most sought after songs, taken from his 1989 album The Lifespring, and presented here in a special extended 12" for the first time. Starting in music production at just 15, White could be described as a protegee, however his take is that they were part of a music journey that continues today. With a centre found in electronic music and spirituality, his progress, from simple home use 4-track stereo to working in professional 16-tracks studios was swift, but matched by a deeper appreciation, greater confidence and wider palette of music styles. Utilising his love of early samplers, his first use of the Akai S612 to accompany and expand his keyboard recordings saw continued development from his debut album at just 17 with Ascension (1985), to the follow up Spring Fantasy (1987) and on to The Lifespring (1989). A small review in the local paper literally led to a knock at the door and offer of a deal from the Start (State Of The Art ) label to record his next album. With a subsequent advance, professional studio equipment was hired and out of these sessions his sound expanded to include ambient, orchestral, synth pop and even ballads. From this both Lifestream and Rain Trek emerged. With a love of Jean Michel Jarre's Oxygene in mind, Lifestream's smooth beginning soon gives way to the pulse of an arpeggio driven groove. Aiming for "relaxation with an edge", the track has become a secret play for the more Balearic minded DJ in the decades since and now sees the LP trade for dizzying sums. However, the original is achingly brief, gracefully fading as part of the album's journey. Here though, with DJs and collectors in mind, White returns to the song to craft a specially extended version that completes the song and will be appreciated at sunsets across the globe. Seeking to take the music and listener to another place, Rain Trek took White's interest in Sci-Fi and the mystic powers of water to a rightful conclusion. The healing nature of his music is apparent, the mystery, yearning and travelling, all emotions evident, but with a kick that will grace the more enlightened dance.

STAFF COMMENTS

Patrick says: Divine dreamy electronics here, Emotionally Rescued from 1989. These two rare cuts combine all the best bits of Cosmic, Balearic and New Age into the kind of ethereal dance music you got from Dancing Fantasy or “Rainforest” era Hardcastle.

TRACK LISTING

A1. Lifestream (extended Mix)
B1. Rain Trek

Taking a turn to some of its roots, Emotional Rescue offers a reissue of Ramjac Corporation's UK house/breaks anthem Cameroon Massif!. First released on the increasingly cult-status Irdial Discs in 1990, this was very much the sound of the big bang explosion of Acid House morphing and splintering, as subsequent multi-genres developed, formed, imploded and reformed in new ways that still subsists today.

Within the melting pot of anything goes, chemically-enhanced optimism that spread across the UK during that return to the summers of love from 1987 onwards, the nascent sounds coming from Chicago and Detroit were mixed with a hybrid of 80s British influences, taking in European synth pop, US electro, new beat, hip hop and reggae. Out of this appeared a new sound, mixing that love of techno and house with dub bass and break beats into a proto-jungle swirl. Like many growing up through the ever-evolving 60, 70s & 80s British music scene, Paul Chivers' early years of learning piano and guitar, moved from Beatles era pop to take in punk, jazz and anything an eager musical mind could explore.

Developing a long-term interest and study of Cuban and Afro-drumming, his acquisition of an Atari and sampler soon moved to programming of both drum machines and TB303 and with that, Ramjac Corporation was born. Playing live at some of the earliest raves in 1988, as often through luck and "right time, right place", including the infamous Back To The Future and Energy parties, Ramjac went from playing from 50 to 10,000 ravers in a matter of months, as the nation was gripped, depending on your cultural standing, by either a mixture of drug apocalypse paranoia or ecstatic celebration. It was a meeting with Akin Fernandez, founder of Irdial Discs, that led some of the first studio experiments and creation of Cameroon Massif!.

TRACK LISTING

Side 1

1. "Cameroon Massif!" (Massive Mix)
2. "Cameroon Massif!" (Massing Mix)

Side 2

1. "Cameroon Massif!" (live At The Brain 09 Mix)

Carl Weingarten / Walter Whitney

Dreaming In Colors

Emotional Rescue begins the first in a series of reissues looking at the music of guitarist Carl Weingarten and his Multiphase Records label, starting at his highly sought after collaborate album with Walter Whitney, Dreaming In Colors.
With an early interest in photography and Super 8 film leading to a degree in cinema production, Weingarten's other, self-taught, love was the slide guitar. Taking its blues roots and merging them with his visual arts background created a unique "painting in sound" style of playing.
While looking to break into the film industry he began writing and recording his own film scores and other music for modern dance companies. From this, he founded Multiphase Records in St Louis in 1980. By the time of Dreaming In Colors, the label had released a series of cassettes and vinyl albums offering abstract, experimental, jazz-fusion, new wave and increasingly, new age compositions.
Throughout this period the work of engineer, keyboardist and programmer, Walter Whitney was often present and by the 1985 release of Dreaming In Colors the duo had collaborated for a number of years and released several projects together, most notably as members of the Delay Tactics band.
Recorded during off days from the Delay Tactics sessions, the album came together at Whitney's Subterranean Sound studio with a focus away from the bands guitar driven instrumentals to explore a multilayered approach to synthesis, blending textures with Whitney's original samples and sound design, while Weingarten's guitar moved from shining solo moments to complimenting the overall oeuvre, all with heavy washes of delay.
This ecumenical approach led to the creation of this compelling album. A masterful conceptual whole that is linked by rich melodies and a concise playing style, heavy on substance while never forgoing the uplifting vibrations. 

TRACK LISTING

A1. Mermaid
A2. Pipe Winds
A3. Pathways
A4. Dreaming In Colors
A5. Rainsong

B1. Rituals
B2. Maiden Flight
B3. Painted Lake
B4. Obsession
B5. In The Sun

Emotional Rescue returns with the third album in a series based around the music of Luis Delgado and Javier Bergia. After a collecton of Javier's best music and the reissue of their Ishinohana collaboration, the reissue specialists present Delgado's solo debut, "Vathek". The second release on his El Cometa De Madrid label after Ishinohana, the LP is an avant-garde step forward from that collaboration, their work in Finas Africae and also, his previous Mecanica Popular project. In a sense, Delgado is the link that brings many of the country's music of that period together. As a multi-instrumentalist he played his first concert at 14 before becoming an in-house engineer for RCA, a position which led to Mecanica Popular with fellow engineer Eugenio MuNoz (Randomize) and the following projects.
The colder electronics of that project belie Delgado's Andulusian Folk/Rock and Ethnic Fusion compulsion, as came to prominence with Luis Paniagua in their Babia releases and via the later success of Finas Africae. In "Vathek", Delgado pushes beyond these projects to utilise the studio and explore his interest in Eastern music. Subtitled "Procesos Electronicos Para Instrumentos Acusticos," the premise was that even with all the machines, the knowledge to use them is not realised and therefore, the goal was to go deeper within these processes to create an new encompassing sound.
The ten pieces should, therefore, be seen in this exploration, yielding a deepness not associated with this golden period of Spanish music. A truly experimental album that is meditative and mesmorising; a mastery of instrument, studio and thought.
As with Javier Bergia's 'Eclipse' and Ishinohana before it, Vathek comes with wonderful hand-illustrated artwork by Finn Campbell-Notman, from his studio in the Andulusian foothills.

TRACK LISTING

1. La Gran Torre De Samarah
2. La Puerta De Ebano
3. El Sacrificio De Catoul
4. El Llanto De Nouronihar
5. Juego En El Haren Del Fakreddin
6.Las Reflexiones Del Califa
7. El Palacio Del Emir
8. La Pira De Carathis
9. El Giaour
10. Los Pabellones De Los Sentidos

A project bringing together Javier Bergia and friends Luis Delgado and Manuel Illan, Ishinohana sees these masters mesh the inflences of rock, new age and Eastern percussion in to a cohesive whole. With a nod to the influence of Pat Metheny throughout, "Le Flor De Piedra" is removed from their works in Finas Africae or as solo artists, allowing each to flourish in their craft with the framework of a group setting. Delgado is prominent. His guitar playing ties the album together and his production looks as much to the albums of 70s and early 80s America than to Japan, where the background for the album is set.
While new age and jazz fusion are oft considered areas to avoid, it's actually the more discerning ear that realises these genres are some of the deepest and most free forms of musical expression. The passion within "Le Flor De Piedra" displays as such. To not stop, listen and understand songs like "Delta" and "Lucia" and their ethereal approach would be a travesty. The reissue of such a cult album is something worth more than that.



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