Nala Sinephro - Space 1.8 (Full Album) 528hz

Meeting with a Judas Tree

Drift ft. Lamin Fofana

Pharoah

Harvest Time

At the forefront of a rising wave of Brazilian artists captivating international audiences, Nyron Higor brings a quiet yet potent sense of wonder to his new self-titled album. Born in Maceió, Higor’s latest work is rooted in the traditions of Northeastern Brazilian music and golden-era MPB. Within the peaceful surroundings of his home, Higor weaves these roots together with global influences and contemporary production techniques, for a uniquely dreamlike vision of hope.

Following the success of his self-released debut Fio de Lâmina—an instrumental record of delicately balanced rhythmic and harmonic patterns, which earned support from tastemakers like Mr. Scruff, Gilles Peterson, and John Gomez—Higor’s new album is a move towards a more expansive, lyrical exploration of transcendence and triumph. As Higor explains, “This album is a test of resistance and a big event in my life as a young Black man from the Northeast and coming from a humble background, financially speaking, its context is political.”

Taking his demos and unfinished tracks to São Paulo, Higor worked alongside friends and collaborators from Brazil’s vibrant contemporary music scene—including fellow Maceioense artists Bruno Berle, Batata Boy, and New York-based Brazilian vocalist Alici Sol—assembling a rich musical landscape and a cutting edge development on the musical world from which he emerges.  

For Higor, the process of recording and producing in close collaboration with Berle and Batata Boy allowed him to fully cultivate the emotive power of his compositions. Album opener "Ciranda" sets the tone with a slow frevo rhythm, as wistful trombone melodies and melancholic acoustic guitar harmonies create an atmosphere both intimate and grand. Lead single "São Só Palavras," featuring Alici Sol and Bruno Berle, captures both the lightness and depth of young love in an all too fleeting minute-and-a-half moment of soaring brilliance. 

Building upon the instrumental sound of his debut, “Louro Cantador” with its playful organ, birdlike whistles and elegant acoustic guitar, emanates a kind of rare natural beauty, as each sound dances amidst the gentle pulse of Higor's bass—his main instrument. 
Through ten carefully crafted tracks, Higor’s acuity for sound and silence draws listeners into a place that feels both deeply personal and universally resonant. “Above all, I value making music that brings me genuine satisfaction. I’m always looking for depth in the things I create.” 

This album is a testament to the timeless themes that define Higor’s artistry, as well as his creative drive to overcome the obstacles he faces. Conveying his feelings of jubilance for his work, Higor notes, “This work is liberating, contemplative and victorious!” Each track invites the listener to experience the raw intimacy, the joy and longing, and the otherworldly ingenuity of Brazilian music, which seems to endlessly keep us coming back for more.


Nyron Higor - Estou Pensando Em Você (feat. Johanna)

Into Harmony

Into Harmony (feat. Julia Biel)

The Sunset Violent

SP12 Beat (Live in Heidelberg)

In an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band’s alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honours the profound legacy of their departed founders.

Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band’s musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums.

Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra’s" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s—a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound.

The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth’s two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel’s credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel’s father, British jazz-funk royalty Jean Paul “Bluey” Maunick, of Incognito, to play guitar on a new version of Azymuth’s eighties classic “Last Summer In Rio”, in tribute to the song’s composer, José Roberto Bertrami. Equally, “Samba Pro Mamao” is a new composition dedicated to Azymuth’s beloved original drummer, Ivan “Mamão” Conti.

Marca Passo releases on limited edition blue, red & black vinyl LP editions, CD and digitally on the 6th June 2025, via Far Out Recordings, supported by European and North American tours.

Azymuth - O Mergulhador

“Divine music is a curative virtue; it is a gift from God that brings healing and comfort to the soul. This music can uplift one’s spirit up to a higher dimension of being that is filled with peace and joy. Divine music is the sound of true life, wisdom, and bliss. This music transcends geographical boundaries, language barriers, age factors; and whether educated or uneducated, it reaches deep into the heart and soul, sacred and holy, like an Infinite sound of glory entering the Lord’s sanctuary.” – Alice “Swamini Turiyasangitananda” Coltrane (1937 – 2007)

Around 14 years ago, I first glimpsed Alice Coltrane on the cover of her 1972 album World Galaxy. She was wrapped in robes and framed by the psychedelic figures of artist Peter Max. From her radiant gaze I knew I had encountered a high spirit. When I dropped the needle and heard the music my world was blown apart. Between the newly shattered pieces Alice injected a shimmering light. Her string arrangements, lush and majestic, dissolved at points, giving way to intimate moments that burned and swung then swelled skyward again.

Alice’s early Impulse! Records output was jazz music infused with an air of the divine. She was paying tribute to and continuing the legacy of her departed husband John Coltrane while offering the world a glimpse of her blossoming spirituality. Her song titles alone let us know where her mind was: “Journey in Satchidananda,” “Galaxy in Turiya,” “Jaya Jaya Rama,” or simply “Mantra.” These were cosmic love songs, and although her great Earth lover was gone, her universal love was growing.

Alice was a woman of constant transformation. She was born Alice McLeod, to became Alice Coltrane then eventually shed conventional names to become Swamini Turiyasangitananda (Sanskrit for “the highest song of God,”). Earlier on, Alice had embraced the teachings of the guru Sathya Sai Baba and shades of her spirituality were reflected on a string of gorgeous albums from the late 60’s through 1970’s on Impulse! and Warner Brothers. In 1983 she retreated from secular life altogether and founded the Vedantic Center Sai Anantam Ashram tucked deep into the Santa Monica Mountains bordering Los Angeles. Her musical output seemed to silence but in actuality the waves were building.

Turiya (Alice) had given up secular music to focus on pure devotion. Her songs of praise came in the form of Vedic Chants. These were not muted, whispered prayers. They were ecstatic praise in full swing. The sessions were released as worship tapes & cds available through her Ashram’s Avatar Book Institute: Turiya Sings (1982), Divine Songs (1987), Infinite Chants (1990), Glorious Chants (1995). They are a total revelation for any Alice Coltrane fan and a missing link of sorts in her musical story.

These four albums are collections of purely devotional songs. The verses are Vedic Chants repeating the names of deities. These swirling, meditative mantras are sometimes sung solo with serene fragility by Turiya and at other times rise in magnificent, gospel-like form from the Ashram Singers. Throughout, the magic element is Turiya’s synthesizer, which dives, sweeps and rises like a million stars cradling all in ancient, blissful light. These are the tones of a luminous glow that is gentle but powerful. It is music made by a woman and her devotees who were in full, astonished love with the immense universe and the tranquility they found within it. Although these songs were cosmic in scope they have been largely unheard by the world. I hope you choose to explore further and even if the flames do overtake this music it will continue to ring on in your heart and beyond.

SONGS:
“Er Ra” from Divine Songs
“Keshava Murahara” from Divine Songs
“Rama Guru” from Infinite Chants
“Gopala” from Infinite Chants
“Hari Rupa & Siva Mantra” from Infinite Chants
“Journey to Satchitananda” from Glorious Chants
“Charanam” from Turiya Sings

Alice Coltrane - Turiya Sings

Jeremy Gold

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