Folk Sale 259 Items

Limited to 100 copies-

Limited to 300 copies on red vinyl.

Ironhand Records is proud to announce the EP of Mustafa Kuş & İmece, musically at the crossroads of funk, jazz, and psychedelic, with Anatolian rhythms.
Mustafa Kuş, who went to Germany for his education and founded his band İmece in 1976, released three albums and one single until 1985.
Compiled from those, the 4 songs in this EP blend Anatolian rhythms with funk and jazz, entertaining bass lines, crazy drum attacks, saxophone, and keyboard solos.
Remastered from the original master tapes, limited to 300 copies exclusive for hhv.de on red vinyl. You will hear the idol of today’s many popular bands!

8-Track available on Pink, Yellow, Blue or White (Randomly selected). Due to limited capacity the full track-list is not included on the 8-Track Definitive collection of Nancy's rare singles, demos and previously unreleased cuts. Includes 3 previously unreleased tracks, plus 3 tracks making their vinyl debut. Deep booklet includes new Q&As with Nancy & Don Randi (The Wrecking Crew) - both conducted by Grammy®-nominated co-producer Hunter Lea Plus never-before-seen photos from Nancy Sinatra’s personal archive. Features audio freshly remastered from the original analog tapes by Grammy®-nominated engineer John Baldwin. Vinyl pressed at RTI. Double LP housed in a gatefold jacket with 24-page book Light in the Attic continues to celebrate the influential career of singer, actress, activist, and icon *Nancy Sinatra* with a captivating new collection, Keep Walkin’: Singles, Demos & Rarities 1965-1978. Exploring the lesser-known gems from Sinatra’s rich catalog through 25 B-sides, rare singles, covers, demos, and previously-unreleased recordings, Keep Walkin’ was remastered by the *Grammy®-nominated engineer John Baldwin* and available in a variety of formats, including vinyl, CD, 8-track, and digital. The 2LP set, pressed at Record Technology, Inc. (rti), is presented in an expanded gatefold jacket and accompanied by a 24-page booklet featuring an array of photos from the artist’s personal collection, as well as a new in-depth Q&A with Sinatra, conducted by the reissue’s Grammy®-nominated co-producer, Hunter Lea. The booklet also contains a fascinating interview with keyboardist Don Randi (The Wrecking Crew), who recently spoke to Lea about his hit-filled career and his 50 years of work with Nancy. Keep Walkin’: Singles, Demos & Rarities 1965-1978 serves as a companion to the widely-acclaimed 2021 career-spanning retrospective, Start Walkin’ 1965-1976, and marks the latest release in LITA’s ongoing Nancy Sinatra Archival Series, a partnership with the legendary artist, which honors her musical legacy through lovingly curated reissues (including her 1966 debut, Boots and the 1968 classic, Nancy & Lee), limited-edition merch, and other special releases. In 1965, 25-year-old Nancy Sinatra scored her first No.1 hit with “These Boots are Made for Walkin’,” a bold anthem for female empowerment. Brazen, sassy, and utterly infectious, it was a reintroduction of sorts for the eldest daughter of Frank Sinatra, who had been struggling to find a spotlight of her own amid a changing musical landscape. Suddenly, audiences who had initially brushed off Sinatra as too demure or out-of-touch were paying attention. Written and produced by Oklahoma-born songsmith Lee Hazlewood (with swaggering instrumentals, courtesy of Billy Strange and The Wrecking Crew), the song launched the singer’s career, as well as one of music’s most unlikely, yet compelling, creative partnerships. Over the next decade, Sinatra continued to notch multiple hits on both sides of the Atlantic, including “Sugar Town,” “How Does That Grab You, Darlin?,” and a haunting rendition of the Sonny Bono-penned “Bang Bang (My Baby Shot Me Down).” The singer also paired up with Hazlewood for a series of popular duets (“Summer Wine,” “Jackson,”* and *“Some Velvet Morning”) and collaborative albums. In between best-selling LPs like Boots (1966), How Does That Grab You (1966), and Nancy & Lee (1968), Sinatra performed the theme song to the 1967 James Bond film, You Only Live Twice, and collaborated with her father on the global chart-topper, “Somethin’ Stupid.” While these career landmarks are well-documented in the annals of pop culture history, however, much of Sinatra’s catalog remains sorely overlooked. As Keep Walkin’ co-producer Hunter Lea explains, “With the changing taste of the record-buying public in the late 1960s and the counterculture taking over, artists like Nancy Sinatra weren’t in the mainstream as they once were.” Despite that fact, “[Sinatra] kept working, recording, and performing at a voracious pace.” Lea continues, “This compilation is a celebration of some of the many glorious recordings that may have been overlooked, forgotten, or never even released at the time. The obscurity of some of these recordings doesn’t mask the genius, brilliance, and effort that went into them; on the contrary, it’s incredible to learn that some of the lost gems are just as rich as the national treasures.” Among the highlights is the spritely opener “The City Never Sleeps at Night,” which served as the B-Side to “These Boots Were Made for Walkin’.” Overshadowed by the colossal success of its A-side, it’s no surprise that the cinematic tune never had its proper due. Yet, Lea reveals, Hazlewood initially intended to make it the focus single. Another long-lost B-side is “The Last of the Secret Agents?,” which was paired with the Top 10 hit, “How Does That Grab You, Darlin’?” The playful song, written by Hazlewood, served as the theme to the 1966 comedy of the same name, in which Sinatra co-starred alongside Marty Allen and Steve Rossi. Keep Walkin’ also features several choice A-sides that were never included on albums and were overlooked for one reason or another. Among them is 1966’s “In Our Time,” a rebellious anthem for ‘60s youth, which references drug culture and women’s liberation, among other topics. Speaking to the Hazlewood-penned track, Sinatra recalls, “That was a fun song. Lee was starting to do his ‘anti’ stuff. He was cynical and it showed in his writing at some point.” But, despite the themes of the song, Nancy laments that she was never embraced by the counterculture. “[drugs] knocked me out of the picture completely. I was so far removed from the hip people in those days. I think they probably made fun of my stuff.” Another stylistic departure for both artists is “Love Eyes,” a bluesy, soulful single from 1966. The song, Nancy shares, is “one of my favorites. I think what helped Lee’s writing at that point was the bigger sound.… I really love it. I think it holds up to this day.” She adds that her dreamy vocal performance was inspired by early female R&B stars like Ruth Brown and LaVern Baker. The collection also features several outstanding covers, including a previously-unreleased rendition of the Barry Mann/Cynthia Weil classic, “I Just Can’t Help Believing” (a hit for both B.J. Thomas and Elvis Presley). This 1978 recording, reimagined as a duet, marked one of Sinatra’s brief reunions with Hazlewood, following his abrupt move to Sweden not long after 1972’s Nancy & Lee Again. Another choice track finds Nancy interpreting Neil Diamond’s “Glory Road.” Released as a single in 1971, it features one of the singer’s most cherished vocal performances. “After I worked on my voice and improved as a performer and as a singer, I embraced Neil Diamond. Anything I did by Neil Diamond, to me, is my best work.” Nancy also looks back fondly on her moving rendition of Bill Withers’ “Ain’t No Sunshine," released in 1973 as the B-side to “Sugar Me.” The recording (which features particularly lush orchestral arrangements by Billy Strange) reunited Nancy with another close collaborator, Jimmy Bowen, who produced the singer in the early ‘60s and later introduced her to Hazlewood. “I love Jimmy,” she declares. “The records we did early on…had a depth to them that I appreciated. He heard me and saw me in a different light; he saw me as a much more serious performer, which I appreciated.” Listeners will also be delighted to hear a pair of previously-unreleased demos: “Something Pretty” (the 1968 country hit, made famous by Wynn Stewart) and the theme to the 1965 Richard Rogers/Stephen Sondheim musical, Do I Hear a Waltz?, both of which were intended for a self-described “disco” record. Despite the two catchy takes featured on Keep Walkin’, Sinatra calls the shelved album “A disaster. I called it the disco fiasco!” Offering additional insight into Sinatra’s career is music director, songwriter, and keyboardist, Don Randi. A member of the hallowed *Wrecking Crew* collective, Randi was one of the most prolific session musicians of the ‘60s and ‘70s with hundreds of credits to his name, including The Beach Boys’ “Good Vibrations,” Linda Ronstadt’s “Different Drum,” and “These Boots are Made For Walkin’” – his first recording with Sinatra. For the next fifty years, he would be a fixture at her sessions and live shows. He also appears on nearly every track in this collection. Speaking to Lea, Randi delves deep into his time with Sinatra, with a palpable admiration for the singer. *“She was easy to work with,”* he shares. “She was always wonderful to musicians; nobody even comes close.” The keyboardist, who met Sinatra through Hazlewood, also recalls the magic of that partnership. “I always liked working with Nancy & Lee. They had something very special that they could get out of each other. It was a good team.” He continues, “Sinatra stood up for herself [around Lee]…He could be so cantankerous…but that’s Lee…. [Nancy] saw through it. She was so lovely and helpful to him a number of times when he really needed someone to talk to.” That said, Randi also appreciates the power of Sinatra’s solo performances. “I never thought she really needed [Hazlewood},”* he reveals. “I thought her shows were just as well with everybody else; they were excellent.” After stepping back from the industry in the ‘70s to focus on her young family, Sinatra returned to the spotlight in the mid-90s, releasing a string of new albums, including the star-studded Nancy Sinatra, which paired the artist with some of her biggest fans, including Morrissey, U2, Calexico, and Sonic Youth. Since then, Nancy’s legacy has only continued to grow. In more recent years, her impact has been recognized by the likes of Pitchfork, NPR, and Rolling Stone, while in 2020, “Boots” was inducted into the Grammy® Hall of Fame*. Today, Sinatra remains a force in the industry, as new generations discover her influential catalog, which boasts nearly 20 studio albums and dozens of charting singles.

Reverse board tip on with silver pantone print. The first ever reissue of Dorothy Carter's 1978 folk/psych/drone masterpiece. A truly unique album in Dorothy's catalog of otherwise traditional psaltery folk music, Waillee Waillee's essence sits in the confluence of Dorothy's mastery of the dulcimer; its shimmering notes fully enmeshed with the tremulous, cavernous drones of Bob Rutman's bowed steel cello. The core of this album, Dorothy's only with a full band, lies in the contradiction of traditional psych-folk idioms and the minimal avant-garde, referencing Henry Flynt and Laraaji as much as Karen Dalton. This LP version includes 12 page booklet with unpublished manuscripts, drawings, photographs, and songbooks of the songs from the album, as well as extended liner notes from friends and family of Dorothy Carter, including notable musicians such as Laraaji, Bob Rutman, and Alexander Hacke (of Einstürzende Neubauten). Drops soon - a joint release between Palto Flats & Putojefe Records.

Dorothy Carter was many things - a virtuoso player, storyteller, historian of Celtic and Appalachian folk music, avid lifelong busker, avant-garde musician, and itinerant troubadour, laying a framework for music that existed both within and outside of standard folk idioms - never better represented than on her 1978 masterwork, Waillee Waillee. Underscored by Bob Rutman’s cavernous bowing of the steel cello, the richness of Waillee Waillee’s sound produces an album unlike any other in her discography. In particular, its two side-ending pieces, “Summer Rhapsody” and “Tree of Life,’’ glide with the shimmering filigree of hammered dulcimer and Dorothy Carter’s ephemeral voice floating over Rutman’s droning buzz of the steel cello. The elements of these two tracks suggest something akin to a transcendental Appalachian raga or whirling cosmic folk music, an effortless combination that serves to add additional substance to the remaining tracks on the album.

The title track is one of her most enduring compositions, often performed in stripped down versions throughout her career, and one of her sole recordings featuring a full band, with the contrapuntal interplay of tremulous flute, vibrating steel cello, bass and drums. Lyrically and tonally, her voice would never sound as stirring and refi ned as on this, her most outwardly accessible song.

She counted musical colleagues as diverse as Constance Demby, Einstürzende Neubauten and Laraaji, as well as her lifelong artistic partner and friend Bob Rutman, whose imprint is felt throughout the grooves of this record. The master tapes for this recording were fortuitously discovered in Rutman’s Berlin studio, many, many years later. As recounted in Laraaji’s contribution to the liner notes, Dorothy was “someone who really influenced my early zither exploration and vocabulary and inspired my shift toward hammered zither performance and recording,” after encountering him busking on the sidewalk one day in the 1970s. Later, when living in Berlin in the early 1990s, Dorothy would begin work on manuscripts detailing the history of the dulcimer family and providing extensive sheet music, selected material of which is reproduced in the twelve page booklet included with this release. Dorothy would find later success touring and performing in the late 90s with the ensemble Mediæval Bæbes, which she led with British musician Katherine Blake, playing a prominent role on their first four albums.

Four dazzling, extended engagements with mbalax master-drumming.

The contribution from Holy Tongue is chase-the-devil steppers — thumping, clangorous, reverberating — super-charged with energy and atmosphere. From the off drummer Valentina Magaletti detonates a hard rain of small bombs, rounds of fire, ticking fuses. Musical co-ordinates are somewhere between classic On-U Sound crew like African Head Charge, The Mothmen, and Creation Rebel, and the experimental funk of the Pop Group and 23 Skidoo, at their funkiest. Thrillingly, the two dubs are increasingly deranged.

Adjusting the same wavelengths as her superb Workaround LP, Beatrice Dillon plays spaced-out, abstract synth-work against the bodily physicality of the ancient, shifting mbalax rhythms. The music is poised, mindful, tentative; but also limber, fleet, and magical.

Phantasmagorical and efflorescent, Lamin Fofana’s one-two is simply stunning. Both excursions are wide-open, beautiful, epic, and propulsive — the first mix is banging and headlong, the second more syncopated and serpentine — teeming with freshly sublime, funkdafied updates on Jon Hassell’s Fourth World possible musics.

The two parts of LABOUR’s Etu Keur Gui engage the same sequence of drum patterns (called bakks) from different perspectives. The duo performed portions of this piece at the opening ceremony of the Dakar Biennial in 2022, at the Grand National Theater, with thirty sabar players from the family of Doudou Ndiaye Rose. This Wolof phrase for the inner-court of a home — a meeting-place — doubles here as a metaphor for inner space on a metaphysical level; and Pan Sonic, Muslimgauze, Zoviet France, early Shackleton… all ghost across the threshold.

Some hard-hitting rhythm section blending into a prime example of the swingin' sound of the cool influences of Jazz, Funk and Folk music, with a Turkish flavor.
It's fantastic funk jazz groove built on a titanium synth bassline!
An instrumental library of traditional Turkish Jazz session reaching a great climax in drums and percussion sets + electro-bass break with moog and synthesizers from the beginning to the end.
Traditional Turkish songs are based on drums and synth bass over moody 5/8 fuzz guitars...
Album recorded & released in Denmark, 1979, and it has never been released in Turkey.

The illustrious, London-based duo Kit Sebastian, aka Kit Martin and Merve Erdem, return with a limited edition 7” single. It features ’L’addio’, a breakbeat driven, sultry ballad, and ‘Hayat’, a hazy, psychedelic scorcher that delves into the band’s Turkish and Azerbaijan influences.

‘L’addio’ saw the band perfecting their production and orchestration, with strings, horns and double bass, and an Italian synth found in a French dump. The music was greatly influenced by Italian soundtracks and Italian female singers, such as Mina or Rita Pavone. The track announces itself with a break that is guaranteed to get samplers twitching. The tone of the melody and lyrics is heartfelt and aching. It has a beautiful, intimate sadness like the closing scenes to a love affair, and it exquisitely rides over the slow, psych-funk-dramatic backing track. The lyrics are inspired by a flat opposite Merve's window that's occupied by drug addicts, with many guests coming in and out every night. Merve elaborated “Being both neighbours and strangers, and with the boredom of a post-tour everyday domestic life and a pinch of urban voyeurism, it was hard not to wonder what was happening in that flat. The words imagine an addict before her/his golden shot as if it's a love relationship between them that comes to an end.”

Having spent much of 2022 touring and writing, ‘Hayat’ was the first original composition the band recorded since their October 2021 album, ‘Melodi’. Here we see them weaving a psychedelic tapestry of Mugham melodies, organ-driven grooves, and jazz-pop harmonies in classic Kit Sebastian fashion. Recorded to Fostex 1/4” tape, the essence of the production is perfectly balanced between being brand new and retro, which is a feat very hard to pull off.

‘Hayat’ is sung in Turkish and the title translates as ‘Life’ in English. The song examines our desire to find one's place in the world and the provisionality of existence. Merve's searching lyrics ask “Where are you? Where is the universe?”. Her vocal delivery perfectly reflects the lyrical focus, its texture is probing and ethereal, almost as if sung from looking above us.

75 Dollar Bill is one of the essential groups at the heart of NYC's underground. Driven by the telepathic union of CHE CHEN's microtonal electric guitar and Rick BROWN's odd metered percussion their long-form sound is unmistakable and compelling. On their third album I Was Real, the group expands in bold new directions, embracing brilliant fuller orchestrations, joyous rockers and entrancing new textures. The album is 75 Dollar Bill's third, featuring new directions accompanying the band's previously established interest in sprawling, unusual grooves and microtonal melodies. The record is enhanced by the presence of eight additional players in various combinations over its nine tracks—but also shows off the duo's strength when stripped down to the core. Requiring a variety of approaches, the album was recorded over a four-year period, in four different studios, with the band's closest associates and collaborators in a range of different ensemble configurations. The album also features several "studio as instrument" constructions that harken back to the collage-experiments of the band's early cassette tapes, while at the same time pointing to territories altogether new.

The latest album "Concert for Modern Times," originally released in October 2022, is now available in long-awaited analog LP to commemorate the 20th anniversary of Ren Takada's solo debut!! This work was recorded live by an eight-piece band in the auditorium of the Jiyuugakuen Myonichikan, one of the national important cultural property. "The modernism of the building brought out the literary nature of Ren Takada. You can hear the tranquil concerto that sprouted deep within the famous performer." - Haruomi Hosono

sferic mark 5 years of operations with a special deep dive into ancient/modern Mediteranean culture by Giovanni Napolano, usually known for crankier industro-dancehall output as Nplgnn (Reel Torque, Youth) as well as programming the wonderful MBE label (Beatrice Dillon, Conor Thomas, Evol) - a proper Riyl Jay Glass Dubs, Christos Chondropoulos, Alan Lomax, DJ Screw, Coda Lunga.

Unfolding along two sprawling 15 min sides, Napolano stitches threads of chopped & screwed folksong with a discrete dub strategy, seamlessly leading the mind down labyrinthine ginnels of his imagination in a sort of uchronic regression session where the ghosts of the past inform the present. In the process it humbly speaks to Naples’ position at the frontier of the current migrant crisis, and necessarily takes a standpoint against Italy’s resurgent, nationalist fascism, revealing the beauty and energy of its indigenous mixture of peoples, rather than erecting borders between them.

Taking his native Naples as a locus of Mediteranean culture, Napolano plunges the port city’s palimpsest of energies embedded by successive waves of Greek, Northern African & Eastern migration to discover an underlying, rhizomic connection and commonality linked by dub and hip hop as a contemporary iteration of folk music.

Under its titular, mythical metaphor for the fall of Babylon, and usage in Rastafari culture, ‘Le Macerie Di Babilonia’ imaginatively examines a sense of self via a historic lens, drawing on Napolano’s upbringing in the chaotic port city and his autodidactic research into the rich mosaic of Napolitan heritage, to model how a folk class solidarity and shared character, with its own rules and rituals, has emerged from its syncretic milieu.

Variously a treatise on provenance; an impressionistic tale of the European north meets a global south; a dub-abstracted, allegoric, ethnomusicological collage; ‘Le Macerie Di Babilonia’ is a fascinating and immersive listen that presents its maker’s dilated world view at its most mesmerising.

Known as one of the greatest fingerstyle guitarists of his generation, the late Isato Nakagawa’s “Solar Wind” is getting a long awaited analog reissue!

With incredible technical talent and an ear for beautiful melodies, Nakagawa was a pioneer of Japan’s fingerstyle guitar scene, mentoring world-renown guitarists such as Kotaro Oshio and Masaaki Kishibe. Originally released over two decades ago, ‘Solar Wind’ saw Nakagawa at the height of his powers, a guitarist confident in both his compositional skills and unrivaled technical ability. Of course, this talent is disguised, with melodies often so simple they could be from lullabies. Yet at times, his talent is on full display, with moving harmonies so complex it seems impossible that he’s playing with only two hands. Whether you want to sit down and study the music of a master, or simply sit back and listen to beautiful guitar melodies, this album is perfect. Reissued on vinyl for the first time ever with an obi strip, this album has never looked or sounded this good! Don’t miss Isato Nakagawa’s Solar Wind, only from P-vine Records.

Four new tracks from Philadelphia's Eyes of the Amaryllis recorded in 2021-2022. Following up their debut album Sift released on Horn of Plenty in 2022, the group continues in the same path with their intimate, earthly and very much homespun music. The sublime title track almost resembles a folky Dadamah while some of the other songs are somewhat looser compositions. Eyes of the Amaryllis consists of Goda Trakumaite, Esther Scanlund, Jesse Dewlow and Jim Strong. 45rpm, mastered by Lasse Marhaug. Edition of 200 copies.

Djiguia is an Ode to Life. It is a calm breathing, a sigh, a rage to live, a reflection. a resistance as much as a letting go...It is the word, the silences and the cries of what Strange o'clock carries and defends.This new Strange o'clock album is intended to be even more distinctive and diversified, while keeping this African'Blues touch well known to the duo.Imbued with blues, rock, jazz, psyche, Tuareg and Mandinka music. this album is a real journey without borders or space-time...

* Printed Photographic Inner Sleeves * Mastered in Seattle by Mell Dettmer * Layout and Design by Nathan Womack * Liner Notes by Dave Segal and A.G. * 2nd installment of the DigginEast series

A diligent and savvy crate-digger, Nathan Womack possesses an unerring ear for tantalizing snippets of songs, inevitably getting you jonesing for more of the nutrient-rich morsels he excavated on trips to mainland China, Hong Kong and Thailand. Like a world-class tease, the record’s evanescent efflorescences of aural excitement leave you gasping in admiration. Womack has done the heavy lifting in the field, mining raw materials that thwack with the impact of a KPM Records LP, except here they’re emanating from the Far East recordings and radio ephemera instead of a workaday English studio full of clock-watching musicians. Sourced from various record stores and random haunts in foreign climes, the tracks on Lagu Loops, according to Womack, are “essentially an Easter egg hunt for locals there or people who happen to notice [and are] curious enough to dig in.” Those blessed with a hunger for cleverly recontextualized sonic delights will have their appetites thoroughly sated. -Dave Segal

Pressed on colored vinyl. Color unknown. Not on label.

This record is a jewel for followers of the more obscure sounds of the 1960’s and 1970’s. In Catalonia, at the end of Franco’s dictatorship, a group far-out singers and musicians experimented with genres such as folk-rock, rhythm&blues, garage rock, psychedelia or Catalan rumba. Their names were Pau Riba, Sisa, Ia & Batiste, Toti Soler, Gato Pérez, Guillermina Motta and many others, who were responsible for the creation of masterpieces such as Dioptria, Galeta Galàctica, Chichonera’s Cat or the Miniatura EP. Now, Barcelona’s power-pop mainstay Ricky Gil teams up with high-energy rockers Biscuit to recreate the repertoire of those pioneers. Together they have unearthed a dozen nuggets and have recorded a powerful, intense and fully enjoyable album, featuring the collaboration of some of the surviving original artists.

One of the most proliftic and influential works within Iranian pop music. "Me without you, the spring without you" is a collection that is a refined and remastered version of Touraj's songs performed between 1973 and 1978. All songs were arranged and orchestrated by Eric Arconte.

Melodic fragments from medieval Spain with a Judaeo-Spanish version of a Turkish sharki. An Argentinian tango adapted to the dervish tradition. Orthodox church rites in Turkey meet an Andalusian secular repertory in Morocco.



Sefardim is a compilation of popular romansas (love ballads) by ladino-speaking Jews in Istanbul. Forced out of the Iberian Peninsula by the end of the 15th century, the music of the Sephardim survived 500 years in exile and greatly influenced Turkish Art Music. Janet and Jak Esim are accompanied by fretless guitar virtuoso Erkan Oğur and percussion maestro Okay Temiz. They have meticulously collected songs, melodies and lyrics from the last ladino speakers alive.

In this new album, Matjé delivers stories sung or rapped in French on tropical music. His light and poetic words but heavy with meaning mingle, among others, with Colombian Cumbia, Brazilian Forro, African Soukous, Reunion Maloya, Malagasy Salegy...Although drawing on traditional music, this new opus is anchored in modernity and we sometimes feel Hip hop influences in the flow or production of certain titles.His solar and catchy music exudes a positive energy inviting to dance while the careful and poetic writing leads to take a step back and reflect.

Art Of Primitive Sound is a sensational journey to the origin of Music. In his crucial research chapter on the Paleolithic, Walter Maioli between 1986 and 1991 investigates the soundscape of different geographical, climatic and botanical environments, in which the mystery of the ancient human-nature relationship resides. What emerges is an expanded and unprecedented Paleorganology, with a range of acoustic and natural instruments from all over the World. Rubbing of fossils, animal artefacts, plant elements of all sorts, everything becomes sound and each object opens up forms of imaginary communication, psychic effect and unexplored languages. Whistles, flutes, leaf and shell rattles, rhombuses, horns, bone pipes, slate slabs, bamboo arches, stones, vertebrae, seeds, stalagtites etc...how great can be the Natural Orchestra inherent in the spirit of forests, rivers, caves, seas, swamps or Amazon jungles? Thanks to an interdisciplinary partnership (Anthropology, Archaeology, Botany, Ethnomusicology) of collaborating friends, Maioli directs an Opera of universal character inspired by the archaic essence of sound and infrasonic dimension.