Manizeh's debut album "Mahku" is a bold entry into the world of contemporary spiritual jazz. Co-produced by LEITER labelmate ganavya—who recently released the celebrated "Daughter of a Temple" and "Nilam"—and LEITER co-founder Felix Grimm, the album was recorded in early 2025 at the label’s renowned Funkhaus Studio in Berlin.

Govinda start their activities in 1994, when original members of Keshava (Satya Mana, Pandit Ananda and Yasodanandana), that had some of their new age tracks released on Klaus Schulze label Innovative Сommunication” decided to change. Everything started when the three Keshava members met DJ Om, who was quite well known in the Los Angeles area, Balearic Islands and Barcelona, so they decided to start a new project, Govinda, along with the support of Indian and Sri Lankan singers, plus the singer/dancer "Chandra". The new project gets immediate interest, and Govinda release their first album "Selling India by the pound" and their first 12" single "Trascendental Ecstasy" which also includes a long and uptempo version of "Awaken"…

This album is a unique offering from the inimitable Kishori Amonkar. To survive is an animal instinct. To conquer is a base human desire. Samarpan or to surrender is the first act of being truly human, the first footstep towards attaining the divine. Surrender is not supplication. Surrender is the act of freeing oneself from the trap of the human design. To surrender is to let go of the belief that I am on my own, and I am my only protector. To surrender is to dive into the ocean of conviction that life is a divine design, and I can play in that pool of divine love like a child.

From the five-hundred-year old musical history of the Sufi Fakirs of Bengal to the virtuoso musicianship of Calcutta’s guitar master Debashsish Bhattacharya and Carnatic violinist Jyotsna Srikanth, this Rough Guide explores India’s spiritual connections with its ancient musical traditions.

Tana Mana is an album by Indian musician Ravi Shankar, originally credited to "the Ravi Shankar Project" and released in 1987. The album is an experimental work by Shankar, mixing traditional instrumentation with 1980s electronic music and sampling technology. Tana Mana is an album by Indian musician Ravi Shankar, originally credited to "the Ravi Shankar Project" and released in 1987. The album is an experimental work by Shankar, mixing traditional instrumentation with 1980s electronic music and sampling technology.

The Ecstatic Music of Alice Coltrane Turiyasangitananda is a compilation album by Alice Coltrane. The music was drawn from the master tapes of four recordings that had been previously released on cassette in limited quantities for members of the Sai Anantam Ashram in California: Turiya Sings (1982), Divine Songs (1987), Infinite Chants (1990), and Glorious Chants (1995). The album, a double-LP set on which Coltrane is heard on vocals, organ, synthesizer, and harp, was released in 2017 by Luaka Bop as Volume 1 of their World Spirituality Classics series.

The musical genre known as World Music provides a characteristic sound from many different countries that reflects the diverse cultures and rituals of peoples around the world. World Music Trilogy is an unforgettable voyage around the globe. The three CD's provide classics from artists such as Camarón De La Isla, Atahualpa Yupanqui, Edith Piaf, Robert Johnson, Joao Gilberto, Compay Segundo and Jaime Torres. The sounds of folklore are complimented by new trends in World Music in the hands of artists such as Buika, Nitin Sawhney, Caetano Veloso, Papa Hamilton and Dissidenten. World Music Trilogy is a trip around the world on three CDs.

'Anthology Of Contemporary Music From Far East' is part of the 'Sound Mapping project' published by ©Unexplained Sounds Group, and featuring anthologies of music from the African continent, the Middle East region, Latina America continent, Persia, Lebanon, Indonesia, China, India, Japan, Mexico, Peru, Scandinavia, Italy, Greece, South Africa, Finland, the Balkan region.

Rahim Fahimuddin Dagar was an exponent of Dagar vani Dhrupad of Indian classical music. He represented the 19th generation of Dagar Tradition. Ustad Rahim Fahimuddin Khan Dagar was known not only for the power and spontaneity of his alaap, but also for his rich repertoire of compositions, some of which are believed to date back to the 12th and 13th centuries. It is the quality of music which has taken him to many countries like the United States, France, Germany and Italy for performances before select audiences. His recordings have been released in Switzerland, Germany and Italy.

The sixth album from the world fusion maestro. Forging ahead with his trademark collision of disparate styles including Jazz, Blues, Soul, Funk, Indian Classical and Drum 'n' Bass, Human showcases a deeper sense of spirituality and peace than before and features vocals by previously unknown young singers, most of them discovered by Sawhney himself. Other than that, "Human" includes contributions from several long term colleagues of Sawhney who've become familiar largely through previous appearances on his albums. These include the whispery vocals of Tina Grace and the comforting tones of Bengali vocalist Jayanta Bose as well as Anglo-Yemeni singer Natasha Atlas.

With Beyond Skin, Nitin Sawhney set a high bar for global fusion music. Now he's raised it with Prophesy, taking advantage of a larger budget to bring in Indian strings, a South African choir, a Chicago cabbie, soul singer Terry Callier, and Nelson Mandela, among many other things. But what could have been an awkward grab bag of sound comes together under Sawhney's sure hands and inspired songwriting. He makes the unusual work. On "Sunset," for instance, flamenco and rai meet Brazil, and the vocals of Cheb Mami and Nina Miranda work to glorious effect. Trilok Gurtu contributes some stunning kannakol (vocal percussion) to "Breathing Light," while Natacha Atlas beguiles with her singing on "Acquired Dreams." But this is more than a collection of great tunes–it's an album that ponders the way our world and civilization is developing, asking questions and challenging assumptions while still delivering some sumptuous grooves and melodies.

Nitin Sawhney's Beyond Skin works on at least two levels. First, it's a plea against racism and war, relating, as Sawhney writes in the liner notes, that one's identity is defined only by oneself – that identity is "beyond skin." Second, the music is an extremely accomplished blend of classical, drum'n'bass, jazz, hip-hop, and Indian elements. The album's political statements are seen most clearly in the samples imbedded in the beginning and ending of most tracks. Dealing with nuclear testing and identity, the samples are effective in setting the tone for the songs. The music is quite lush, featuring among other instruments, tablas, pianos, and cellos to equally beautiful effect. The production brings a crystal-clear polish to nearly every element in the mix, whether it's the passionate, intense vocals of the Rizwan Qawwali Group on "Homelands" or the stunning, impossibly gorgeous voice of Swati Natekar on "Nadia." The entire album is bathed in eclectic touches which never fail to maintain a poetic, accessible sense of charm and wonder. Rarely has electronic music been crafted with as much substance and style as it has on Beyond Skin. Sawhney travels back and forth between genres quite effortlessly. The album was included in the book 1001 Albums You Must Hear Before You Die.

Like Greatest Hits of the Kali Yuga, The Best of Krishna Das samples the singer's earlier devotional works, here drawing upon his albums One Track Heart, Pilgrim Heart, Breath of the Heart, Live on Earth, and Door of Faith. A devotee of Maharaj Ji Neem Karoli Baba, Krishna Das has spent much of his adult life making good on his vow to use his singing voice to alleviate suffering in the world. Krishna Das is that most wonderful blend of Eastern and Western cultures; originally a resident of Long Island, N.Y., he studied in northern India as a young man and has since spent decades reinterpreting the sacred music of that land in ways that are pleasant and often surprising. As a man who sounds at times like Waylon Jennings and who is obviously enamored of the "lila" or divine playfulness, Krishna Das seems to enjoy deliberately toying with the unusual and even humorous aspects of the East/West dichotomy, as when on the album One Track Heart he sang a "Krishna Waltz" that sounded more than a little like the old cowboy tune "Get Along Little Dogies." As an encapsulation of his life's work, this Krishna Das best-of collection is entirely devoted to Sri Neem Karoli Baba and through him to the One Deity with a thousand names and as many aspects as there are atoms in the universe.

The NID Tapes’ presents a collection of early Indian electronic music uncovered at the archives of the National Institute of Design in Ahmedabad. Recorded between 1969-1972 the compilation chronicles electronic works from the previously unknown Indian composers Gita Sarabhai, I.S. Mathur, Atul Desai, S.C. Sharma and Jinraj Joshipura who worked at the nation’s first electronic music studio founded at the NID during the utopian years following India’s independence - a radical period of visionary experimentation and artistic free-thought.

The new Unexplained Sounds Group’s compilation of exploratory music and sound works from India intends to present a comprehensive collection of sonic practices that have emerged from the desire to break away from India’s traditional sounds, e.g. classical music and folk tunes, while simultaneously drawing on ideas and inspirations from these lineages and auditory heritages in the form of recurring motifs and sonorities as well as textures and open-ended compositions. The fragile but complex connection between tradition and modernity is the crucial point of entry in this body of works contributed by Indian-born sound artists and experimental musicians. What is ‘sound art’ and what is ‘experimental’ can be debated at length, but sound art is a Western construct, and experiment is something Indian musicians have long been engaged in whilst keeping their traditions alive and transformative. What is new in this compilation is locating the tension between historical trajectories of sound thinking and the intervention of modernist technologies like recording and mixing that the artists continue to negotiate through their interpretations and reconfigurations of temporality and spatiality.