MUSIC

A raid on the values of oriental jazz master and pioneering ethnomusicologist Lloyd Miller. As we’ve said before on the rare encounters we’ve had with Miller’s work, he’s quite a unique figure within the worlds of jazz, traditional Middle-Eastern folk and musicology. Few in history seem to be so heavily embedded within local music scenes and have been capable of absorbing so much from their surroundings. His original works (almost all self-released) are extremely hard to find and are pretty much out of reach for most. This double LP ‘Orientations’ is really what we’ve been longing for though. With unrestricted access to Dr Miller’s archives, local Utah label FOUNTAINavm have combed through previously unreleased recordings from the early 60’s to the early 00’s, capturing the breadth and scale of this unique artist. The cultural clash between east and west underpins each piece, where Miller’s astonishing dexterity on at least 15 different non-western instruments is infused with European Jazz standards. Like listening back in time, the fragrant humid air of the old orient hangs heavy in the atmosphere, capturing a time of great change in the area where the osmosis of culture between East and West would really take off, not without its problems. But these are recordings we keep coming back to, like the lilting romance of piano piece ‘Shahin’ recorded in early 70’s Tehran, or the hypnotic South Indian inspired Carnatic Clarinet from 1960’s. Miller’s work exists at an interesting historical intersection where jazz, folk, spiritual and documentary aspects of music all overlap. (Mint / New - heavy 2LP gatefold). This double LP album is sourced from Lloyd Miller’s personal archives of masters and personal recordings. Archival, Curation, and Tape Transfers by Adam Michael Terry.

One of the earliest and rarest compilation of Jamaican ska jazz, released in 1961 on the iconic Blue Beat Record. Featuring Don Drummond, Roland Alphonso, Cecil Lloyd, Alton Ellis, Derrick Harriott, Rico Rodriguez, The Charmers, The Jiving Juniors, Aubrey Adams, Clancey Eccles, Clu J. and His Blues Blasters, E. Parkins, Carol McLaughlin, Chuck Josephs, Dobby Dobson, and Lascelles Perkins.

Over a year since the release of their exhilarating debut Could We Be More, Kokoroko present a new collection of remixes of tracks from their first album. The record brings together a dizzying, globe-spanning array of contemporary music’s most forward-thinking artists, each bringing their own unique identity to the project while maintaining the immersive sound-world of the original. Could We Be More Remixes is due 10th November 2023 via Gilles Peterson’s Brownswood Recordings. All the remixers share a common approach with the band, filtering global influences and backgrounds through the lens of their hometown. As a result, each remix explores and stretches the core elements of the debut in different ways. Home-grown London talents Eun and Demae, both associates of the Touching Bass collective that sprouted from the same scene as Kokoroko, turn in a spaced-out version of ‘Tojo’ that manages to be introspective and driving at the same time, reminiscent of some of the best work on Moodymann’s imprints. The talents of Could We Be More’s producer are called upon next. Miles James continues where ‘Something’s Going On’ left off, turning the synth-funk up several notches. To call anaiis’ version of ‘Home’ a remix would almost be an understatement. Anaiis uses the original as a launchpad, her soaring vocals taking the song’s sentiments to dizzying new heights. The toe-tapping Highlife groove of ‘Ewà Inú’ is twisted into a lurching Batida stepper by Vanyfox that skews expectations and stumbles the listener into a blissful trumpet-led ambient outro.This is followed by Washington-native dreamcastmoe’s take on the track. His version defies genre, scattering fragments of the original, soulful vocals and chords over a heavy 808 bass chug. ‘We Give Thanks (KeiyaA Remix)’ sees the Chicago-based multi-hyphenate mining the depths of the sparse skittering cyber-soul elements that were a feature of her own debut. Kokoroko’s organic vocals and instrumentation are tied down to a bedrock of icy drum machines, handclaps and electronics resulting in a scintillating frisson. The final two artists on the record submit remixes along more traditional lines. Ash Lauryn and Stefan Ringer twist and reform the angelic vocals and Afrobeats sentiments of ‘Dide O’ into a driving deep house banger; the floating melodic refrain suspended over a rolling synth bass and propulsive drums. Finally, London producer of the moment Hagan does what he does best. In his hands, ‘War Dance’ transforms into a dark and moody afro-house dance floor weapon. Ominous pads, a monstrous bass-line and hectic percussion combine with the song’s fiery brass culminating into a climactic breakdown built around Sheila Maurice-Grey’s explosive trumpet solo. Could We Be More was an ambitious and expansive album. Stretched out over 15 tracks, Kokoroko’s debut release wove together Afro-beat jam-outs, funk grooves, psychedelic flutters, brass stabs and soaring soul with dub-echo, astral electronics and introverted interludes. All combining to create an immersive experience evoking the band’s multi-faceted notions of home. This is a beautiful sister release to Kokoroko’s Could We Be More. The remixes treat the source material with care but imbue them with a potent energy, strangely reminiscent of seeing the band perform live. This collection follows the album and achieves what few remix albums are able to; creating a headphone listening experience while at the same time drawing out the dance music elements for the club. Could We Be More Remixes is due 10th November 2023 via Brownswood Recordings.

The first album by Joyce – one of our favorite Brazilian singers ever! The album's a wonderfully lyrical batch of tracks – many written by Joyce herself, plus a few by Brazilian songwriters Jards Macale, Toninho Horta, and Marcos Valle – and the orchestrations are by Gaya, and played on a number of tracks by Dori Caymmi and his group. The style shows many elements of Joyce's later unique style, filtered through a more standard late bossa sound – light and breezy, but with a bit of a dark edge that's in a classic Jobim mode. Includes the track "Superego", which feels a lot like Joyce from the 70s – plus the lovely "Litoral", and the tracks "Me Disseram", "Nao Muda, Nao", "Cantiga De Procura", "Choro Chorado", "Bloco Do Eu Sozinho", and "Improvisado".

Sun Ra's legendary 1978 Italian studio sessions, now available together for the first time ever on vinyl!

Original Rockers is a compilation of singles, all recorded between 1972 and 1975. It was originally released in 1979 on Greensleeves Records and was compiled by journalist and photographer Dave Hendley. It features Robbie Shakespeare and Aston Barrett on bass guitar, Earl "Chinna" Smith on guitar and guest vocals from Dillinger on the track 'Brace a Boy'. It was recorded at Channel One Studios and Dynamic Sounds in Kingston, Jamaica and mixed by legendary dub producer King Tubby.

This record shows many different places, from some electronics, SambaJazz, Batucada, etc. Surprise. Perhaps almost unknown by many friends at Loronix. This is a work of a serious Jazz Band. This cover edition is sponsored by Varig Airlines that gave this album as a gift to their DC-10 passengers.

Hermeto's first album recorded in Brazil, and his second solo album (the first one was recorded and released in the USA). Performs as composer of "Bebê" "Plin" and "Serearei", arranger, conductor and instrumentalist. The most experimental record of the master where he shows from beautiful themes like the choro Bebê, which is already a classic of his authorship to deconstructions of well-known themes like Asa branca and Carinhoso. On the track Sereiarei you can even hear an "orchestra" of pigs, geese and other animals. The opener track Bebê was sampled in 1994 by Japanese acid-jazz group United Future Organization.

Following on from last year’s acclaimed Vrindavan 1982 by rudra veena master Z.M. Dagar, Black Truffle is thrilled to present a pair of archival releases from the Dagar Brothers, among the most revered 20th century exponents of the ancient North Indian dhrupad tradition. The vocal duo of Moinuddin and Aminuddin Dagar (sometimes referred to as the ‘senior’ Dagar Brothers to distinguish them from their younger siblings, Zahiruddin and Faiyazuddin Dagar), belonged to the nineteenth generation of a family of musicians in which dhrupad tradition has been kept alive through patrilinear transmission, each generation undergoing a rigorous education of many years’ duration that can include singing up to twelve hours each day. Famed for the meditative purity of their approach to dhrupad, the Dagar Brothers helped to keep the tradition alive in the years after Indian independence in 1947, when the royal courts that had traditionally patronised dhrupad musicians were abolished. Many Western listeners were first introduced to dhrupad by the Dagar Brothers’ tour of Europe in 1964-65 and their LP in UNESCO’s ‘Musical Anthology of the Orient’ collection, both organised by pioneering musicologist and scholar of Indian culture Alain Daniélou. Documents from this tour are especially precious, as Moinuddin Dagar passed away in 1966. Berlin 1964 – The Lost Studio Recording (released alongside BT115, a newly discovered concert recording from the same trip) presents two unheard side-long performances in crystalline fidelity, recorded at the International Institute for Comparative Studies and Documentation in Berlin headed by Alain Daniélou. These stunning recordings were consigned to the archive because, as Peter Pannke explains in his liner notes, which recount his meeting with Danielou many years after these recordings were made, the tape ran out during ‘Raga Jaijaivanti’, which terminates abruptly soon after the entry of the pakhawaj. Accompanied only by Moinuddin’s wife Saiyur on tanpura and Raja Chatrapati Singh on pakhawaj (a large double-headed drum), the brothers present stunning performances of the severe, serious midnight ‘Raga Malkauns’, set to a ten beat cycle once the pakhawaj enters, and the complex early evening ‘Raga Jaijaivanti’, set to a fourteen beat cycle in its rhythmic section. True to the traditional dhrupad structure, both performances are dominated by the long free-floating alap section, where the notes of the raga are gradually introduced, slowly climbing in pitch and intensity as the two singers trade improvisations that display a stunning range of vocal tones and remarkable subtlety in mictrotonal nuance. The performance of ‘Raga Malkauns’ is divided roughly in half, with the pakhawaj and unison singing entering around thirteen minutes through; Raja Chatrapati Singh’s performance is particularly striking in its endlessly inventive metrical nuance within the overall crescendo and acceleration. On ‘Raga Jaijaivanti’, the alap lasts almost twenty minutes, with Singh joining only for a few minutes of sparse pakhawaj hits before the tape cuts off, the absence of the more active concluding section serving only to magnify the mystical calm the Dagar Brothers establish in this setting of a 16th century love poem. Illustrated with a striking full colour concert photograph, Berlin 1964 – The Lost Studio Recording is accompanied by extensive liner notes by Peter Pannke celebrating musicologist Alain Daniélou, whose study, documentation and promotion of dhrupad was so important for spreading awareness of this great musical tradition, ready to be discovered anew in this stunning recording from two of its master exponents.

An interest in ancestral Latin American cosmology has always run right through the music of Ecuadorian music producer Nicola Cruz. His creative process involves an attentive, careful search for the living roots and rituals that are part of South American identity—its Andean and African origins in particular—valuing its rhythms, its oral traditions, its instruments and the energy they transmit. His first record, Prender el Alma (2015) explored the development of the consciousness and spirituality, and how they connect with music. In Siku, his most recent production, Cruz continues this exploration, expanding his vision towards new stories and other cultures as sources of inspiration. A crucial aspect on this journey is his collaboration with other artists from around the world. The siku is a wind instrument of Andean origin, highly symbolic in ancestral rituals, made up of two separate, complementary parts, the arca and the ira. It is a representation of duality, an essential element of the indigenous world view, associated with involvement and complementarity, far from the binary thinking typical of western societies. That duality is reflected on this record in the coming together of sounds, whether electronic or organic, past or present, local or global. On Siku, Nicola Cruz combines instruments with symbolic, spiritual connotations, such as the sitar, the siku, and the balafon with hints of electronica. Studies of the samba, cumbia and rhythms of African, Andean and Hindu origin are combin

The second part in a collection encompassing Akan blues, palm wine and early guitar-based highlife music, with recordings dating from the late 1920s through to the end of the 1950s. The music included here can probably all be said to have all stemmed from a style that initially took root in the Fanti region of coastal southern Ghana. Fusing local percussion instruments with the introduction of western (most notably Portuguese) guitars that had made their way to the Fanti region of southern Ghana via the Kru seamen of Liberia, who are said to have pioneered the distinctive two-fingered style of playing while sailing the high seas. Mingling amongst the Kru as well as with other sailors and local working-class people during the 1920s & 30s, the guitars infused with the traditional Akan seprewa harp-playing technique, creating a style known as 'odonson' or 'Akan blues' - a rootsy highlife style also commonly referred to as palm wine music, so named after the palm wine bars where the music was commonly performed. Western record companies such as Zonophone, Columbia, Odeon, HMV, and later Decca/EMI's West Africa imprint, released much of the recordings included here - with the earliest inclusions appearing courtesy of George William Aingo, Nicholas De Heer, Edmund Tagoe & Frank Essien, and Jacob Sam's Kumasi Trio (all recorded in London during the late 1920s). The form would become a key element in the popular development of both Ghanaian & Nigerian highlife, as well as the maringa of Sierra Leone, the juju of western Nigeria, and the Congolese "dry" guitar music of central Africa. With thanks to John Collins and the Bokoor African Popular Music Archives Foundation.

The first part in a collection encompassing Akan blues, palm wine and early guitar-based highlife music, with recordings dating from the late 1920s through to the end of the 1950s. The music included here can probably all be said to have all stemmed from a style that initially took root in the Fanti region of coastal southern Ghana. Fusing local percussion instruments with the introduction of western (most notably Portuguese) guitars that had made their way to the Fanti region of southern Ghana via the Kru seamen of Liberia, who are said to have pioneered the distinctive two-fingered style of playing while sailing the high seas. Mingling amongst the Kru as well as with other sailors and local working-class people during the 1920s & 30s, the guitars infused with the traditional Akan seprewa harp-playing technique, creating a style known as 'odonson' or 'Akan blues' - a rootsy highlife style also commonly referred to as palm wine music, so named after the palm wine bars where the music was commonly performed. Western record companies such as Zonophone, Columbia, Odeon, HMV, and later Decca/EMI's West Africa imprint, released much of the recordings included here - with the earliest inclusions appearing courtesy of George William Aingo, Nicholas De Heer, Edmund Tagoe & Frank Essien, and Jacob Sam's Kumasi Trio (all recorded in London during the late 1920s). The form would become a key element in the popular development of both Ghanaian & Nigerian highlife, as well as the maringa of Sierra Leone, the juju of western Nigeria, and the Congolese "dry" guitar music of central Africa. With thanks to John Collins and the Bokoor African Popular Music Archives Foundation.

A collection of haunted, brooding flamenco recordings taken from the early 1900s through to the late 1930s. Focussing in on the cante jondo (or “deep song”) style, seen as the original manifestation of flamenco singing - from which other elements emerged, such as dancing and playing - this survey captures and documents tracks from the form’s earliest recorded stars.

The latest volumes in this highly acclaimed series presenting the music of the Windrush generation: the post-war, London recordings of West Indians and West Africans, in the first wave of modern migration to Britain. Volume 8: Lord Kitchener In England, 1948-1962 is devoted to the great calypsonian Lord Kitchener. Gatefold double LP with insert, including numerous stunning photographs, and brilliant new writing by Kitch's biographer, Anthony Joseph. Sound restoration at Abbey Road; pressed at Pallas.

"Beirut group Sanam’s debut record Aykathani Malakon blasts to life with its mix of low-tuned guitar jams, industrial drums, and earthy vocals – an immersive collection of dark and spacious textures” The Guardian “A gritty blend of noise rock, ambient textures and Arabic forms that cast the traditional material in a visceral new context" The Wire "Absolutely love this record, it's amazing” Tom Ravenscroft “A bit post punk and experimental and very very interesting” Gilles Peterson ++++ Debut release from the Beirut-based free-rock post-folk sextet. Album mixed by Radwan Ghazi Moumneh (Jerusalem in My Heart) and mastered by Heba Kadry. SANAM's music is a ritual where improvised rock, free jazz and noise underscore an exorcism of traditional Egyptian song and Arabic poetry. SANAM formed following an invitation to perform with Hans Joachim Irmler from the legendary German experimental group Faust, at Beirut's Irtijal music festival in 2021. Sandy Chamoun (vocals), Antonio Hajj (bass), Farah Kaddour (buzuk), Anthony Sahyoun (guitar, synth), Pascal Semerdjian (drums) and Marwan Tohme (guitars) bring a myriad of influences gleaned from years performing either solo or as members of influential acts in Beirut’s tight-knit independent music scene (such as Al Rahel al Kabir, Postcards, Kinematik and Ovid). The musicians had planned to reiterate their fortuitous experience with Irmler but when this plan fell through, they decided to go on a recording residency together instead in a traditional house in the village of Saqi Reshmaya, Lebanon. The recording of the album took place during a particularly difficult time in their native country of Lebanon, which continues to suffer from an unprecedented economic collapse as well as social and political unrest. “We decided to take eight days off in May 2022 in an effort to completely disconnect ourselves from Beirut” says Sahyoun, who also performs in post-rock outfit Kinematik. During their residency, the musicians, who come from distinct musical styles and backgrounds, decided to record the full album live with no overdubs: “The musical direction for SANAM was set out by the improv sessions with Joachim," says Sahyoun. "We weren't looking at doing something specific, it ended up coming out as a weird mix between improvised rock, tarab/arabic song and ambient. Kind of putting different things in a blender (our different musical backgrounds) and never really letting them quite fuse together. Recounting the insular experience of recording this debut, Sandy Chamoun described it as “almost hallucinogenic, as if there was a tacit agreement among us to produce an album that sounded 'unearthly' ”. Combining regional and local folklore and poetry with experimental forms of instrumental music are at the core of Aykathani Malakon. Chamoun, who chose the texts for this album and has performed in the Lebanese satirical music collective Al Rahel al Kabir, turned to modern and contemporary Arab writers and composers such as Lebanese poet Bassem Hajjar whose poem Aykathani Malakon lends the album its title and opening track, Paul Chaoul whose poem Chamoun recites in a state of ascending ecstasy in Ayouha Al-Taiin Fi Al-Mawt and the Egyptian composer Sayyid Darwish in the languorous Ya Nass that features prominently the buzuk played by Farah Kaddour. As Chamoun points out, the poetry or lyrics in the album constitute “a collective call for an escape from a hallucinatory state engendered by love but also the mysteries of life itself”.

Silencio" is the ninth album in total, and the last album released on Haruomi Hosono's private label, Daisy World Discs, in 2010. At the time of its release, Haruomi Hosono praised this quiet masterpiece with the comment, "The path Soichiro Suzuki found on 'Silencio' among the miscellaneous sounds buzzing in the labyrinth will be a valuable guide for those who come after him.

Dancefloor fire bombs from Kolt, a DJ and producer thus far mostly operating under the crew name Blacksea Não Maya (with Perigoso and Noronha). This is his first Retirement record. No quotation marks here, Kolt is actually stepping down from a fruitful decade-long career as DJ and producer. Fat, techno-ish, idiosyncratic big room afro mind melt sounding like no other hyped or non-hyped dance cuts out there. Futuristic and decidedly non-European in structure, this set of 4 tracks carries a more synthetic DNA than previous material, if we exclude his quasi-gothic slow burners in BNM's "Máquina de Vénus" LP. But in "Verdadeiro" Kolt is all virtual open arms and bare chest, appearing to satirize this idea of the megastar DJ. But what comes across is distinctive and alive (consequently deadly on the club sound system), wiping out the floor of any zombie-preset-DJ vibes. Take "Bateste" as an example: an evil bassline, wtf beeps, a vocal snippet prodding the dancers and a final blissful 30 seconds to ease you out. "Shaman" is the final track, its title just maybe nailing the atmosphere felt by people on the dancefloor. Shamelessly epic and in your face, a simulation of a throwback to a more clichéd clubland but just so left of centre that one can't find a complete correlation to fit the picture. Yes, we all go OMG.

Reissue of early seventies album, part of the ‘Live In Egypt’ series, documenting Sun Ra’s first trip to Egypt with his Arkestra in December 1971. Tracks A1-A3 were recorded at Ballon Theater, Cairo, Egypt December 17, 1971 Track B was recorded in the house of Hartmut Geerken, Cairo, Egypt, December 12, 1971.

Reissue of early seventies album, part of the ‘Live In Egypt’ series, documenting Sun Ra’s first trip to Egypt with his Arkestra in December 1971. Side A was a TV broadcast from Cairo, 12/16/1971, and side B recorded at the house of Hartmut Geerken, Heliopolis, Cairo, 12/12/71

Record producer, composer, singer, and pioneer of the dub music genre Lee Scratch Perry passed away in August 2021. His influence over popular music since the 1970s is hugely significant, with artists including Bob Marley & The Wailers, The Clash, Beastie Boys, Max Romeo, Junior Murvin and The Orb all enriched by Perry’s legendary touch, innovative studio techniques and production style. Conceived, written and recorded during the COVID pandemic, ‘King Perry’ was produced by Daniel Boyle, and features guest performances from Greentea Peng, Shaun Ryder, Tricky, Marta, Rose Waite and Fifi Rong. Two tracks were also co-produced with Tricky, who releases Perry’s last recorded performances on his False Idols label. Over a career spanning six decades, Lee Scratch Perry left the music world with a huge catalogue of albums, productions and appearances that cannot be underestimated. Releases for Island Records, Trojan, Adrian Sherwood’s On-U Sound, Mad Professor’s Ariwa...the list goes on. It was in 2014 that Perry teamed up with UK producer Daniel Boyle, and from this collaboration came the Grammy nominated album ‘Back At The Controls’ and was followed up five years later with the ‘Black Album’. The ‘King Perry’ album was born out of a request from Perry that he “wanted to do something new, something different but still with a dub framework”. And so, armed with influences as diverse as synthwave, big beat, drum & bass and electronica, Boyle and Perry traded ideas, beats and lyrics in a project that continued to grow as its various guest performers were added, resulting in a kaleidoscopic and engaging melting pot of rhythms, melodies, and voices. Poignantly, closing track ‘Goodbye’ was Perry’s last ever recorded vocal performance.

Shay Hazan radiates with musical diversity on 'Wusul وصول', His second solo album on Batov Records. Acclaimed Tel Aviv bassist, band leader, composer and producer, Shay Hazan emerges into the limelight with his highly anticipated second solo album, 'Wusul وصو’. This groundbreaking musical odyssey artfully melds the enchanting sounds of Gnawa music, spiritual jazz, hip hop grooves, and electronic production, with a rich tapestry of Middle Eastern and African influences. Hazan's debut solo album for Batov Records, 'Reclusive Ritual,' unveiled a fresh musical realm. It introduced the guimbri, a three-stringed camel-skin-covered bass plucked lute used by the Gnawa people of Morocco, to a landscape of jazzy horns, synths, and laid-back hip-hop beats. The album garnered support on BBC 6 Radio Music and earned Hazan a mix on the Huey Show. With over two four-star reviews, Songlines magazine dubbed it "groovy," while Mojo magazine described it as "hypnotic." 'Wusul وصول' builds on this legacy, offering a broader sonic palette, enhanced organic instrumentation, a lighter atmosphere, and elevated production values. The album's enigmatic title, 'Wusul' (Arabic for 'arrival'), celebrates the expected birth of Hazan’s first born child, expected to arrive around the same time as this album. Fitting, given that the latter is the result of a transformative phase in Hazan's career, with many of the album’s songs evolving and taking shape during live performances. Most notably, a majority of the musicians featured on 'Wusul وصول' are integral members of Hazan's live band, bringing a synergy and connection to the music that is palpable. Standout track, “Sunflowers”, featuring the exceptional Nitai Hershkovits on keys, showcases Hazan's prowess on guimbri, guitar, percussions, and synths. This mesmerising composition, recorded by Hazan himself, seamlessly weaves together a diverse array of musical elements, resulting in an uplifting and danceable masterpiece. On “A Walk In Dir El-Assad”, Hazan invites listeners with him to the small Arabic village of El-Assad, where at night the air is full of sounds of music emanating from multiple weddings. Over a cacophony of percussion, live drums from Shahar Haziza, and Hazan’s earthy guimbri-led basslines and gritty guitar, Eyal Netzer and tenor sax and Roy Zuzovsky trade solos and harmonise over the melody. Delivering one of the heaviest grooves on the album, “Vibe jadid” commences with the distinctive percussive sound of krakebs, large iron castanet-like musical instruments, primarily known for supplying the rhythmic aspect of Moroccan Gnawa music, before the earthy guimbri bassline hits, accompanied by a half time hip-hop-like kick drum and clap. Triumphant horns ring out the anthemic melody, offset by otherworldly synths. Shay Hazan's creative process reveals a cross-cultural narrative influenced by his extensive travels, from Central America to Japan, where he encountered the rich tradition of Gnawa musicians in Tel Aviv. The album includes a fascinating tune named “Shimo Kitazawa”, inspired by a Tokyo neighbourhood, as well as other tracks infused with the global vibes that have touched his musical soul. Dedicated compositions like “Dew” and 'Yooltz” pay homage to the friends and musicians who helped shape this album. Opener “Dew” is a nod to trumpeter Tal Avraham, who contributes a hypnotising solo. “Yooltz” is a loving tribute to tenor saxophonist Eyal Netzer, who contributes a soulful solo to the song, adding a distinctive layer of brilliance to the album. The Afrobeat leaning “Oladipo”, on the other hand, is dedicated to the late great drummer, musical director of Fela Kuti's band legendary Africa '70, and pioneer of the sound, Tony Allen. Hazan utilises synths to create an eerie atmosphere on “Street Souls”, inspired by the characters who frequently inhabit the streets around Hazan's studio, sharing insightful comments from time-to-time. The slim wall of separation, provided by his machines and studio walls, from the junkies and prostitutes outside is emblematic of the slim divide between his privileged existence and theirs. This urban tension continues on album closer “Riff Raff”, taps into the tumultuous undercurrents of social movements and demonstrations, injecting a sense of urgency into the album's diverse tapestry, with its jolting groove. Shay Hazan's journey continues as he embarks on a series of international performances, including the Jazz Jantar Festival in Dansk, Poland, and the Tel Aviv Jazz Festival. He has recently captivated audiences at the prestigious Jazz in the Park Festival in Romania and the Jerusalem Jazz Festival. His music transcends borders, uniting listeners worldwide in a vibrant celebration of sound and culture. 'Wusul وصول' is an introspective journey through the intricate tapestry of musical influences that have shaped Shay Hazan's unique sound. While Western and Mizrahi pop have left their marks on the record, they serve as threads

Merengue Típico: Nueva Generación! delves into the heart of Dominican merengue, a genre whose significance often eludes the spotlight. Bongo Joe's venture into unexplored terrain takes us to the Caribbean, specifically the Dominican Republic, shedding light on its musical tapestry. Curated by Xavier Daive, aka Funky Bompa, the compilation unveils rare '60s and '70s gems, providing a glimpse into a transformative period following the fall of the Trujillo regime. With over 20 years in the Dominican Republic, Xavier Daive meticulously sources original 45s, offering a snapshot of merengue's evolution during a creatively charged era post-Trujillo. The genre's roots, dating back to the 19th-century Dominican Republic, predate salsa, establishing its unique identity with the introduction of accordions via German trade ships. The genre's classic típico configuration emerged in the mid-'60s, leaving a lasting impact on its evolution. Focused on the explosive '60s and '70s merengue típico scene, influenced by genre pioneers like “Tatico” Henríquez and Trio Reynoso, the compilation showcases technical finesse and high-speed rhythms. Tracks like Rafaelito Román’s "Que Mala Suerte" embody the genre's infectious energy. Aristides Ramírez’s "Los Lanbones" adds a touch of humor, cautioning against pub freeloaders. Merengue Típico: Nueva Generación transcends the realms of a typical reissue; it's an immersive journey into the roots of Dominican merengue, expanding its narrative beyond borders to enrich the global musical landscape. This compilation goes beyond individual tracks, providing a historical and cultural context, enriching our understanding of the genre's evolution in the Dominican Republic during a crucial period. Designed for both connoisseurs and wild dancefloors, this compilation is not only a historical and cultural exploration but also a treasure trove for DJs seeking to infuse their sets with the vibrant rhythms of merengue típico.

Overproof levels of fruity, dazzling, early machine funk from South indian film composer Vijaya Anand, plucked out by David Byrne’s Luaka Bop for first time vinyl pressing - a must-check for anyone smitten with Finders Keepers’ Ilaiyaraaja sets, YMO, LG Mair Jr.’s midi-funk, or classic cartoon scores from Hanna-Barbera to Mark Mothersbaugh ‘Asia Classics I - The South Indian Film Music of Vijaya Anand: Dance Raja Dance’ is a very welcome return to the Tamil film music realms previously revealed to the western world thru a number of Finders Keepers comps in recent decades. Where those sets attended to the catalogues of A.R. Rahman and Ilaiyaraaja (and even prompted a Rian Treanor edit down the years), this one was originally issued in 1992 and brings the work of Vijaya Anand into striking focus through 11 tracks of lavish string arrangements synced to devilishly detailed disco drum machine programming and synth edits, all sung in Tamil and Telugu languages. Like the aforementioned FK comps, it spanks our tiny minds with its abundance of colourful melody and club-ready grooves wrapped up in incredibly intricate song-writing that never fails to leave us beaming. In the 30 years since its release on CD, ‘Asia Classics I’ has led to Vijaya collaborating with David Byrne on ‘Happy Suicide’ from the ’95 Hollywood flick ‘Blue in the Face’, and a remix of his work by Deee-Lite’s Super DJ Dmitry - two reference points that personify his music’s broad appeal beyond its original purpose on Kollywood screens. From the no wavey psych-funk of ‘Aatavu Chanda (Dancing is Beautiful)’ thru to the wildly animated carousel of ‘Ba Ennalu (When I Say Come)’ its not hard to hear a playful genius at work, riddling every cut like a game of snakes and ladders with multiple stop/start chops, electro-funk fills and complex big band swing, while never losing sight of the groove and audience’s attentions. We’ve absolutely no doubt that it’s a serious baga fun for lovers of the choicest midi-funk and the busiest J-pop alike.

Batov Records is thrilled to announce the release of ‘Middle Eastern Grooves’, a double gatefold LP compilation of standout tracks from the label’s highly successful series of 7” singles released under the same name, hand selected by label co-founder DJ Kobayashi. Spanning from 2015 to the present day, the compilation features a mix of classic favourites, new releases, and never-before-heard gems from some of the most talented emerging artists. Batov Records “Middle Eastern Grooves’ 7” series have become staples in the sets of DJs looking to broaden their sets to incorporate psychedelic and Middle Eastern sounds alongside the familiar funk, jazz, and soul catalogue. In the process, the series has enjoyed support across BBC 6 Radio Music, from Gilles Peterson to Gideon Coe, and made waves around the world, from Radio Nova and FIP in France, across the Atlantic to KEXP and Music Is My Sanctuary, and laid the seeds for debut albums from series staples, Sababa 5 and Şatellites. The compilation opens with the desert funk sound of "Badawee" by the iconic producer and multi-instrumentalist, Kutiman, followed by the instrumental edit of "Ya Raiyat" by Tel Aviv digging pioneers Radio Trip. Other highlights include the deranged & spooky synths of “The Egyptian” by Baharat, a prime example of the label's core sound, the psychedelic Middle Eastern groove bomb "Deli Deli" by Şatellites, and “Nasnusa”, Sababa 5’s acclaimed collaboration with Japanese vocalist Yurika Hanashima. The compilation also includes some exclusive tracks, released here for the first time. Following their recent collaborative EP, Sababa 5 back the newly discovered vocalist Shiran Tzfira with a simple but effective combo of synths and percussion on the haunting “Manginat Mahepeha”. Şatellites band leader Itamar Kluger contributes “Saved From The Jazz” from his new psychedelic funk project Eje Eje - watch out for the drums on this! And finally, underground belly dancing princess turned Mediterranean psych chanteuse, Cherry Bandora, contributes the hypnotic “Esý”. This first volume of highlights from the Middle Eastern Grooves 7" series offers a comprehensive look at the evolution of the label's sound and its place in the wider musical context. From surf rock to Mediterranean psych, this collection showcases the diverse and captivating sounds of the Middle East and its influence on modern music. The compilation will be available on double gatefold vinyl and for digital download and streaming from 19th May, 2023. When he isn’t managing Batov Records, DJ Kobayashi can be found digging for grooves and melodies that stand out from the norm, and sharing them at the likes of Brilliant Corners, Spiritland, and his biweekly show on Soho Radio. His vast collection spans funk and beats from across the globe, and reflects, of course, a particular predilection for Middle Eastern grooves. His refined tastes have created a great demand for his selections, leading to him playing alongside the likes of Islandman, Balkan Beat Box, The Apples, and Baba Zula.