Norway’s finest hardanger fiddle player, performing traditional tunes from her native valley Hallingdal.
Wonderful.

‘Oud-player with The Handover, Eissa was mentored by two legendary figures in Egyptian music: composer and multi-instrumentalist Abdo Dagher, and oud master Hazem Shahin. The music here is heavily rooted in both Egyptian classical music and a number of different folk music traditions, but it goes its own way, through expansive and intricate original compositions.
‘The epic title track, with Eissa playing oud exclusively, takes up two thirds of the album. It seamlessly transitions into heart-stopping recitation of the thirteenth century poet Baha´ al-din Zuhayr… serious, loving, tender and insistent, all at once. Visionary and virtuosic, but at the same time warm and close.
‘A future classic.’

Classic deep Detroit house; featuring Marc Kinchen’s extended club mix.
Plus Carl Craig’s reconstruction of Help Myself.

Ecstatic, cosmic soul from 1981, swirling into space on flurries of brass, two-step bass, and TM’s overdosed-with-joy falsetto.

‘Richly harmonic explorations in just intonation, using a sparse but finely detailed palette of organic atmospheres, metallic shimmer and off-kilter rhythms. Sample-based hip-hop, the minimalism of Terry Riley and Jon Hassell, as well as dub techno and post-rock; all in the house. Glassy pads, gamelan metallophones, clarinet and guitar dissolve into fluid, dreamlike forms, suggesting vast coastal landscapes, charged air, the calm after a storm…’

‘Charles Lloyd pays homage to his dear friend and longtime collaborator, master-tablaist Zakir Hussain. The album is built around studio recordings made in Mumbai in 2009 for an interrupted project featuring an expanded ensemble with drummer Eric Harland, Carnatic singer Vijay Prakash, Rakesh Chaurasia on bansuri, Sabir Khan on sarangi, Ranjit Barot on keyboard, and Niladri Kumar on sitar.’

Everyone got this?
The horns cut; an Upsetters masterpiece.
Pure fire.