Home made chinese hip hop recorded in my studio in Goa. i made a very simple beat with continuous bass line and compose melodies with my travelling Gu-Zheng (chinese harp), then i added some simple lines of violin, playing oriental style with glissando. And some indian flute Bansuri to bring more depth. Full happy & good vibe, this track bring sun and power for morning mood.

BUY HERE

Yunnan Hills

CATHEDRALS - Unbound (Auditory Canvas Remix)

It is Saturday and here is my new Ecstatic Dance Upload as promised.

This one is N. 13 played @ Jaran's Yoga - Koh Phangan on 10/01/20 

Again here I feel amused at how much my style has been changed in the course of such a short time!

Music is evolving and we are with it!

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In the past years I have been hosted, facilitated and held countless Ecstatic Dance Journeys ....

I started my Ecstatic Dance Journey in 2008 at the very beginning of the now famous Yoga Barn in Bali, then in 2016 I gave birth to the Sunday Mornings Dances at Pyramid Yoga in Koh Phangan and the Evening Friday dances in Jaran's.
Consistently started to record my sets (or almost) only in 2017/18.

I will try now to upload one every Saturday starting from those days ...... raw as they are (as I do not even re listen to them before uploading them!!)

Follow me in my Ecstatic Journey and let's see where we will end up ....
(to date ...with one set every week we will have more then 2 years to explore in front of us!)
Hope you will enjoy this journey with me!!
<3 U ALL

Sandesh - The Ecstatic Journey n. 13

Sito Reno is a french musician who plays roots, acoustic reggae & latin america music. I recorded his kora & voice in my portable studio in Mazunte, Mexico last winter. I composed beats with african drums & shakers, then recorded my bansuri (indian bamboo flute) & fujara (harmonic flute). The track is groovy with full african vibes, smily & chill.
Sito Reno  : https://soundcloud.com/user-871248012

VIDEO CLIP of the track
https://www.youtube.com/watch?v=sK_l4zQmlc8

Imana (feat Sito Reno)

Such an honour to play at Boulder Ecstatic Dance. I know this would be a good one as I heard such good things about the Boulder community. And it was ! Wow such a high vibe community.  Maya Galan could not make it so Sarah Conner stepped to collaborate on the Sound Healing and wow, what an experience! I hope you enjoy!

Boulder Ecstatic Dance 2024 Featuring Sarah Conner

Dreamdancer

Starwolf

I cant let you go

Get the track on Bandcamp
https://tikkimasala1.bandcamp.com/track/tikki-masala-wagogo-remix-indigenous-hukwe-ubi-zawosa
Full Discography also available on Spotify
https://open.spotify.com/artist/18kmBPrnYJRXfuxAq3QLum
About: 

Hukwe Ubi Zawose 
Hukwe Zawose 
Real Name: 
Hukwe Ubi Zawose 
Profile: 
Born: 1938 or 1940 in Dodoma, Tanganyika. 
Died: December 30th 2003 in Bagamoyo, Tanzania. 

As a young boy, Hukwe Zawose's voice stood apart from the rest of his people, the Wagogo, who always sang while harvesting their fields. Soon he would travel to other villages to amuse working Tanzanian people. Later, having grown exponentially as a singer, he travelled farther and wider, leaving behind legends of his astonishing five-octave voice everywhere he went. He grew as a musician too, playing the ilimba (a large thumb piano), filimbi (a traditional flute), izezes (traditional violins) and nguga (ankle bells). 
Zawose became sort of a living legend after being asked to perform for the prime minister, Julius Nyerere. Fantastic stories of mythical power rose, making Zawose an immortal and divine being; his voice possessed magical healing powers. 
Despite his great fame he continued to live his life traditionally with his four wives and fifteen children, one of whom, Charles, was his constant companion on stage. Hukwe Zawose is considered a pioneer and one of the most famous musicians in the world music scene. More 
In Groups: 
Bagamoyo Group Of Tanzania, The Master Musicians Of Tanzania 
Variations: 
Viewing All | Hukwe Zawose 
Dr Hukwe Zawose, Dr. Hukwe Ubi Zawose, Dr. Hukwe Zawose, Hukwe Ubi Zawose, Zawose, Zawose 


Hukwe Ubi Zawose was a prominent Tanzanian musician. He was a member of the Gogo ethnic group and played the ilimba, a large lamellophone similar to the mbira, as well as several other traditional instruments. He was also a highly regarded singer. Wikipedia 
Born: 1940, Bagamoyo, Tanzania 
Died: December 30, 2003, Bagamoyo, Tanzania 



For more Tikki Masala music :
https://open.spotify.com/artist/18kmBPrnYJRXfuxAq3QLum
https://tikkimasala1.bandcamp.com/
https://www.mixcloud.com/TikkiMasala/
https://www.facebook.com/Masalarecords

<a href='https://theartistunion.com/tracks/d45742'>Download for free on The Artist Union</a>

Hukwe Ubi Zawosa - Wagogo (Tikki Masala Remix)

Friday.. and last meditative session for a while!

Support: https://lorenzochill.bandcamp.com/track/life-meditative-session-7

The idea of these meditative sessions was born at beginning of March when lockdown in Italy began with the plan to release one track every week till the end of April.
The purpose of these meditation sessions was to offer beauty and peace to all the listeners and I'm honoured to have received positive feedback knowing that this musical journey has gone in the right direction.

It's been a hard but magic time for me and want to thank you all for your support!

I have thought for a long time whether to carry on these releases but I feel that the time has come to devote to long-term projects.
I have an Ep scheduled before the end of the year and I want to complete the project of a full album, collect sounds, ideas, experiment and then offer to the world something very special.

A mix of these meditative sessions will be released in the coming weeks.

Sixth week: https://lorenzochill.bandcamp.com/track/expansion-meditative-session-6

Fifth week: https://lorenzochill.bandcamp.com/track/growth-meditative-session-5

Fourth week: lorenzochill.bandcamp.com/track/intention-meditative-session-4

Third week: lorenzochill.bandcamp.com/track/dawn-meditative-session-3

Second week: lorenzochill.bandcamp.com/track/path-meditative-session-2

First week: lorenzochill.bandcamp.com/track/lightness-meditative-session-1

I hug you all,
Lorenzo

Bees and birds recorded in 2018 thanks to www.apiselvatica.it

Life - Meditative Session 7

from 'Where We Were' [CD|2xLP|DIGITAL]
available from May 2013 on all formats at [http://denovali.com/greghaines]

ON TOUR

21.04.2013 London (uk) - Denovali Swingfest

08.05.13 Eindhoven (nl) - Muziekgebouw
10.05.13 Groningen (nl) - De Oosterpoort
11.05.13 Amsterdam (nl) - Paradiso
12.05.13 Trier (ger) - Synagoge Schweich
13.05.13 Paris (fr) - Café de la Danse

17.05.13 Münster (ger) - Black Box
18.05.13 Utrecht (nl) - Le Guess Who Festival May Day
19.05.13 Essen (ger) - Welterbe Zollverein
20.05.13 Brussel (bel) - Ancienne Belgique Club
21.05.13 Hamburg (ger) - Nachtasyl
22.05.13 Bielefeld (ger) - Nummer Zu Platz
23.05.13 Hannover (ger) - Feinkost Lampe
24.05.13 München (ger) - Einstein
25.05.13 Geneva (ch) - La Graviere
26.05.13 Varano Borghi (it) - La Sauna Recording Studio
28.05.13 Bratislava (slovakia) - Atelier Babylon
29.05.13 Budapest (hun) - Akvárium Klub
30.05.13 Prag (cz) - Palac Akropolis
01.06.13 Gdansk (pl) - Club Zak
02.06.13 Warsaw (pl) - Cafe Kulturalna



Denovali Records is happy to announce the release of Greg Haines' new album WHERE WE WERE on cd, double vinyl and digital, as well as the release of 2006-2012, a collection of Greg's first three albums Slumber Tides, Until The Point of Hushed Support and Digressions as triple cd and 5 x vinyl collector's box in May 2013.


WHERE WE WERE [CD|2xLP|DIGITAL]

“WHERE WE WERE”, the new album from GREG HAINES, may come as a surprise upon first listen. The cascading strings that played such an important role in his prior work have disappeared, and in there place are intricate layers of tape-worn synthesizers. Any recordings of piano have been transformed and affected until their sound is at times barely recognizable. Moments of quiet, slowmoving textures can still be found, but they are nestled between upbeat, rhythmically-driven tracks that at times could even be considered for deployment on open-minded dancefloors. Although taking a year to complete, the nature of this record is born in its spontaneity and impulsiveness. The acoustic instruments such as piano, vibraphone and other percussion that found there way on to the album were not the result of months of composing - rather they were entirely improvised and often left completely unedited and raw. At first the idea was these rough tracks, full of noises and hiss, would later be re-recorded, but as the process drew on, it became clear that these kind of loose, half-thought moments were what defined the album - often “out-oftime” or “out-of-tune”, but always adding another dimension to the hazy, analog world of sound. This hand-crafted approach led to almost everything being constructed in the old-fashioned way; not with mouse-clicks, but with two hands moving dials and everything running to an aged tape machine.

This album is the result of one person sitting alone in a room and creating something entirely personal, without the frustrations of organising large-scale sessions for other players or the laborious work of preparing scores. In fact, the few scored moments that were written were later disregarded, with a whole string session with PETER BRODERICK ending up on the cutting-room floor (sorry, Peter!), along with endless hours of other material. What is left is the condensed diary of a year of exploring old tape delays, analog synths and percussion - some of which played by percussionist/composer SYTZE PRUIKSMA (a member, along with Haines, of THE ALVARET ENSEMBLE, whose debut album was released in December 2012 by Denovali Records), and some of which played and recorded in a midnight daze at Haines' studio in Berlin. Working in this way led to a whole host of other long-term influences feeding into the music that had never found an outlet before. The experiments in dub conducted by the likes of KING TUBBY or LEE PERRY and continued by the likes of RHYTHM & SOUND had a profound effect, as did the iconic work of TONY ALLEN and other African composers. The spaced-out soundscapes found on early TANGERINE DREAM and KLAUS SCHULTZE had always had a subtle influence on Greg's work, but now armed with an arsenal of dusty studio toys, those sounds became warmer, richer and more prominent.

The influences evoked here may at first appear at odds with Greg's previous work, but an affinity between the dense poly-rhythms of Africa and beyond have long been an influence for contemporary composers such as STEVE REICH, and their reach and importance on western music is undeniable. But now the lines have been blurred, and its impossible to say where one “style” or influence stops and another begins – something that was perhaps the only concept for this record. The symphonic synth crescendo of “So it Goes” would not have the same impact if it were not following the head-nodding drive of “Something Happened”. The delicate arpeggios of “Wake Mania Without End II” only exaggerate the unrelenting, rhythmical explosion of “Habenero”, and without starting with the intimate piano of “The Intruder”, the album's cavernous ending wouldn't feel so otherworldly. Its all in there or at least whats left of it after the hiss, the dirt and the degradation of the tape machine destroyed it, reworked it, and spat it back out fullyformed.

Mixed and mastered together with NILS FRAHM at his Durton Studio, Berlin.

Where We Were

Greg Haines - The Whole

Ecstatic Dance Amsterdam @ The Q-Factory sept 15/2020

I could give you my background, but it wouldn't really tell you how it shaped me. I could show you photos, but you would just see my mask. I could tell you a story, but lyrical self expressions aren't my forte. You could ask my friends, but they'd give you their version of me. 

But if you were to just listen intently to some of the music I make, you'll hear my soul ripped intricately open for all to see....

David grew up surrounded by music (at least until he took his mother’s record player apart at the age of 6 to see how it worked). His favourite toys were those that made or recorded sound. One of his most loved being the Stylaphone, which he was given at the age of 4.
David began Djing at the age of 18, playing local events and clubs whenever the opportunity arose, often for free, solely for the enjoyment and satisfaction it gave him.

Whilst at University in Manchester, UK, David co formed and ran a successful club night for 3 years, playing to a loyal, continuously growing crowd every fortnight. Success in this arena lead to David securing many bookings at local clubs and events around the North West of England.

Through his love for Djing, David felt an increasing desire to create his own music, and explore the soundscapes that were building up in his mind.

The day that profoundly changed David’s life, and enabled him to realise his life long dream occurred by chance. A friend took him into the University music studio, briefly showed him how to turn the keyboards and equipment on, gave a ten minute lesson in the music production software on the computer, and left the room. 6 hours flew by, completely hooked, he had found the path he had been searching for since he was a child.

Ever since, every penny he shouldn’t have spent, every spare moment he has, goes on letting emotions flow through sound. 

David donates much of all royalties received from the sales of his music to good causes.