Robbie Basho - Live in Forlì, Italy 1982

For more information visit our Bandcamp Page

We are very happy to announce the upcoming release of this rare Robbie Basho recording.

The purpose of this digital album is to raise funds to properly master and press this concert in vinyl format in a limited run of 350 copies.

Those who pay $20 or higher will get a copy of the Vinyl when the mastering and pressing costs are funded and the album manufactured.

Basic Purchase price of this album includes a mastered digital version when finished. Shipping costs will be determined by location and be an additional charge at the time of shipping.

Adele H interviewed by Noisey Italia. Read all the interview here


Civilization, the debut album by Italian singer-songwriter Adele H, represents four years of thoughts, ideas and melodies.

Adele H is the solo music project of Adele Pappalardo, a singer-songwriter who uses just her voice and a Brazilian tambourine (and occasionally other percussion instruments) to create primordial experimental pop songs. The essential instrumentation creates primitive layers of music where the theme of spirtual awakening is celebrated.

ADELE H is the careful narrator dropping hints like ancient sculpture in architecture that’s been on buildings for centuries
Tiny Mix Tapes

“Driven by undulating vocal melodies and raw guitar textures, the song makes for an entrancing, five-minute ride; an accompanying live take of the song doesn't depart dramatically from the studio version, though it does boast a vocal that feels even more possessed.”

“ She builds small cathedrals made of interwoven voices, sighs and breaths are rhythmic, blows and puffs that become sound environment, sound hypnosis and a lot visionary. We expect the long album with trepidation.”

After touring eight countries across Europe, the UK, and the Middle East last year, Swiss-based artist ADAYA and her band (comprised of musicians from Europe and North America), have released their first album The Other Side. The Other Side is a prophetic album rooted deep in folk traditions from the British Isles and steeped in colors of contemporary psychedelic folk. ADAYA’s poetic and mature songwriting is the result of many years of traveling and from being an uncompromising full-time musician. Adaya Lancha Bairacli was primarily a solo artist until 2014, when she began collaborating with the multi-talented American bassist Aaron Goldsmith. Their band began to expand in 2015 with the addition of Buck Curran, who gives an ethereal touch with his Electric Guitar (for the past decade he’s been a member of the renown American Psych-Folk duo Arborea). Also in the current line-up is percussionist Jonny Snape (who hails from the U.S. Punk-folk scene), along with Canadian Meghan Engel (former violinist of several established bands in Vancouver).


Folk Radio Uk: "On ‘The Other Side,’ Adaya successfully reimagines folk music through the bright window of intelligent songcraft and genuinely experimental arrangements. It is an intensely varied and often mesmerising release from a unique voice."

The first ever tribute to Robbie Basho We are All One, In the Sun’feat. Glenn Jones, Meg Baird, Arborea, Steffen Basho-Junghans, Helen Espvall, Cian Nugent, Fern Knight, Rahim Alhaj is now available for Pre-Order via Obsolete Recordings Bandcamp. Originally released on Important Records (2010).

"American primitivist Robbie Basho is honored on this comp, with contributions from Espers' Meg Baird, Helena Espvall, and more."


Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.

Buck Curran Immortal Light
released July 12th 2016.

Vinyl out 14th October 2016



"With Immortal Light Curran has successfully tapped into that natural beauty and created a slice of alt-folk that is as engrossing as anything you’re likely to hear"
~ Folk Radio UK

"Curran's first album under his own name invokes swarming natural forces, looking for the borderline between the real and the sublime and, maybe, the supernatural."
~ Jesse Jarnow, Relix

From Dusted Magazine.

"Most tribute records are as cruel as weak tea, comprised of a few people you like and more that you don’t covering tunes that you like a lot done with, at best, erratic results. If you feel differently and you don’t mind CDs now is your time, because you can probably find a ton of them for a penny and postage second-hand on But guitarist and singer Robbie Basho, who debuted on John Fahey’s Takoma label in the mid-1960s, is a uniquely appropriate subject for such endeavors. He inspires uncommon passion from his fans, but there are also aspects of his work that put off even some longtime devotees. He was also so idiosyncratic a talent that you can’t help but sound a bit like yourself while playing his music. Conversely the tunes you write that are inspired by him are bound to show that influence bright and clear. These factors converge to make Basket Full Of Dragons, the second volume of Basho tunes compiled by guitarist Buck Curran, a satisfying listen as well as a fitting tribute.

The album opens with a duet between harmonium player Matthew Azevedo and guitarist Glenn Jones. Jones is one of three players who also appeared on We Are All One, in the Sun, the first volume; he was also a friend of Basho in the years before the guitarist died in a chiropractic accident in 1986. Once more, Jones plays a tune inspired by memories of Basho’s music and person. “Portrait Of Basho As A Young Dragon” recreates the stirring glory that its dedicatee could evoke through prayerful melody, and the harmonium’s thick drone occupies a dense swath of sonic space. This sets the stage for a very different duo, oud player Tamman Saeed and percussionist April Centone, who represent the Middle Eastern influence that enriched Basho’s music. The oud’s rapid decay and the dogged fidelity that Saeed pays to the melody of “Fog Upon The Moon” sounds small after the opening track’s grandeur, but that’s not a problem. Rather, it affords Centone plenty of room to engage in elaborations that confer bebop accents upon Levantine sonorities.

Mike Tamburo shows that you don’t need to play what Basho played to catch his vibe. His hammered dulcimer turns “The Chameleon And The Crow” into a lengthy fantasia as dramatically wide-eyed as anything Basho ever played. The other player to go long is Steffen Basho-Junghans, a German guitarist who learned Basho’s techniques at a time when he was nearly forgotten and has maintained an on-line archive of Basho lore through the decades. “The Rediscovery Of Basho’s Cathedral” not only summons the epic quality of it’s honoree’s music, it makes one wish that Basho-Junghans would start making records of his own again.

Richard Osborn is the other participant who actually knew Basho. He took lessons from him decades ago, but an injury in 1980 sidelined his playing for decades. “Walk In Beauty” is an original that chimes in harmony with Basho’s reverence for American Indians. It sounds just as prayerful Basho’s own much but more lived-in due to the contrast between Osborn’s lilting fingerpicking and his aged croak of a voice. Most of the other singing on the record is by female vocalists, which seems fitting given that the only singer Basho sounded like was Yma Sumac. They tend to comport themselves more conventionally than Basho did, but again, that’s not a problem, but a second chance for songs that didn’t always get their due because of the extravagance of Basho’s delivery. One stands out. Eva Sheppard steps up and emulates Basho’s dizzying swoops on “Salangadou,” a feat made more remarkable by the fact that she’s still in high school. She is accompanied by her pop, Jesse Sheppard, who is a devoted videographer of American Primitive guitarists as well as a strong picker himself.

There’s more, but who wants to read descriptions when you could be tracking down Obsolete Recordings’ Bandcamp page and listening to the whole thing for yourself? So why don’t you do that, and follow it up with a prayer that someone is figuring out how to do proper reissues of Basho’s entire catalog.

Bill Meyer"