BATOV RECORDS - Forced Exposure

$33.00 PREORDER RELEASE DATE: 10/18/2024

London has a bright new Brazilian talent in town, who goes by the name of MOMO. One of the recent generation of artists influenced by the Brazilian classics, from 1970s tropicália, Os Mutantes, and Milton Nascimento. MOMO. releases his seventh album Gira, on Batov Records bringing together some very special musicians and guests from London's bustling and hustling jazz community, with fellow Brazilian artists, recorded and cut to tape at East London's Total Refreshment Center. A journeying collaboration which effortlessly swings, guided by Marcelo Frota's soft yet reassuringly familiar vocal, with ruminative and explorative brass twists, Gira was recorded with friends and guests including Alabaster DePlume on tenor sax (in whose band Marcelo toured), Jessica Lauren on keys, Tamar Osborn on baritone sax, Nick 'Emanative' Woodmansey on drums, Carwyn Ellis of Rio 18 fame on piano, Magnus Mehta from Penya on percussion and Caetano Malta on bass. Gira is MOMO.'s first album recorded in London. His debut from 2006, A Estética do Rabisco, was named one of the best albums of the year by the Chicago Reader and set Marcelo's musical path in motion. His singer-songwriting talents have already earned him plaudits from royalty like Patti Smith and David Byrne and he was invited to participate in A Tribute to Caetano to mark the 70th birthday of Brazilian musical legend, Caetano Veloso. Gira is a new departure for MOMO. While previous albums have always started with guitar and voice, Gira begins with the groove -- yet succeeds sublimely in balancing this new emphasis on spontaneous improvisation and songwriting. "Life brought me to London and I think I've made my lightest album; it could only have been created here," he says. When Brazil meets London, you can't help but move to the groove. For fans of: Sessa, Caetano, Veloso, Alabaster DePlume, Bala Desejo.

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Batov Records presents Nijerusalem, a groundbreaking collaboration between Nigerien synth pioneer Mamman Sani and Berlin-based electronic artist Tropikal Camel. Mamman Sani's electronic organ music, first recorded in 1978, made him a national hero in Niger, led to him writing the Niger's new national anthem, and has long been cherished by aficionados for its unique blend of traditional Nigerien melodies and synth experimentation. Mamman's music embodies a sense of intimacy, echoing the presence of a solo artist in the room with the listener. This album is the result of a serendipitous meeting at the Nyege Nyege Festival in Uganda. Both artists shared a residency and studio space, which led to long recording sessions together over the course of two weeks, capturing the organic fusion of Mamman's synth melodies and Tropikal Camel's percussive electronic beats. Despite their divergent backgrounds and ages, Mamman at 73 and Tropikal Camel at 44, they found equilibrium in their collaborative process. Nijerusalem pays homage to the warm synth sounds of the '80s while infusing them with an African electronic aesthetic. Mamman's music, rooted in Nigerien folk traditions, finds new life in this sonic exploration, resonating with authenticity and innovation. Both Mamman Sani and Tropikal Camel draw from rich and diverse cultural backgrounds, creating a dialogue of cultural exchange and mutual respect. Mamman's heritage, with roots in the Hausa and Tuareg tribes, intersects with Tropikal Camel's own North African and Middle Eastern roots and musical interests. In "Fulani UFO", Mamman Sani explores the rich cultural heritage of the Fulani, a prominent tribe in Niger. Here, Assayag infuses a North African rhythm, incorporating the gimbri instrument commonly found in Moroccan Gnawa and Tunisian Stambeli music. These ritualistic musical traditions, brought to North Africa by West African slaves, serve as ecstatic medicine, enriching the sonic landscape of the song. A tribute to the Songhai people, "Sonray Wedding Song" is inspired by a typical song sung at a river bank wedding. Which leads listeners neatly to "Venusian Lady", a universal ode to love, bridging cultures and origins, with Mamman's heartfelt composition, originally recorded as instrumental 50 years ago, marking its debut in a vocal rendition, sung in both English and Hausa. On Nijerusalem, Mamman Sani and Tropikal Camel's collaboration invite us into their timeless and intimate, minimalist sound world.

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Pink color vinyl version. Batov Records presents Nijerusalem, a groundbreaking collaboration between Nigerien synth pioneer Mamman Sani and Berlin-based electronic artist Tropikal Camel. Mamman Sani's electronic organ music, first recorded in 1978, made him a national hero in Niger, led to him writing the Niger's new national anthem, and has long been cherished by aficionados for its unique blend of traditional Nigerien melodies and synth experimentation. Mamman's music embodies a sense of intimacy, echoing the presence of a solo artist in the room with the listener. This album is the result of a serendipitous meeting at the Nyege Nyege Festival in Uganda. Both artists shared a residency and studio space, which led to long recording sessions together over the course of two weeks, capturing the organic fusion of Mamman's synth melodies and Tropikal Camel's percussive electronic beats. Despite their divergent backgrounds and ages, Mamman at 73 and Tropikal Camel at 44, they found equilibrium in their collaborative process. Nijerusalem pays homage to the warm synth sounds of the '80s while infusing them with an African electronic aesthetic. Mamman's music, rooted in Nigerien folk traditions, finds new life in this sonic exploration, resonating with authenticity and innovation. Both Mamman Sani and Tropikal Camel draw from rich and diverse cultural backgrounds, creating a dialogue of cultural exchange and mutual respect. Mamman's heritage, with roots in the Hausa and Tuareg tribes, intersects with Tropikal Camel's own North African and Middle Eastern roots and musical interests. In "Fulani UFO", Mamman Sani explores the rich cultural heritage of the Fulani, a prominent tribe in Niger. Here, Assayag infuses a North African rhythm, incorporating the gimbri instrument commonly found in Moroccan Gnawa and Tunisian Stambeli music. These ritualistic musical traditions, brought to North Africa by West African slaves, serve as ecstatic medicine, enriching the sonic landscape of the song. A tribute to the Songhai people, "Sonray Wedding Song" is inspired by a typical song sung at a river bank wedding. Which leads listeners neatly to "Venusian Lady", a universal ode to love, bridging cultures and origins, with Mamman's heartfelt composition, originally recorded as instrumental 50 years ago, marking its debut in a vocal rendition, sung in both English and Hausa. On Nijerusalem, Mamman Sani and Tropikal Camel's collaboration invite us into their timeless and intimate, minimalist sound world.

$15.50 IN STOCK

Turkish psych, Afro-Latin rhythms, funk, and surf rock effortlessly converge on "Ma Belle Fille" and "Solar Heart," the latest offerings from Berlin-based band Saturno 4000. These tracks, featured on their debut 45 for Batov Records, demonstrate the band's eclectic melding of diverse musical styles with seamless precision. Comprising Julia Beresikowa (vocals, guitar, percussions), Sebastian Carrizosa (guitar), Andrea Buccio (bass guitar), and Hannes Neupert (drums, percussions), Saturno 4000 isn't just a studio project; they've extensively toured Germany's live and festival circuit, captivating audiences with their infectious energy and layers of guitar fuzz. On the A-Side, "Ma Belle Fille" delivers a solid groove, with Andrea Buccio's mesmerizing bassline intricately synchronized with Hannes Neupert's Afrobeat-inspired drumming, enhanced by Diego Moscoso's djembe contributions. On top of this formidable foundation, Julia Beresikowa and Seba Carrizosa's electric guitars add both elegance and grit, while Julia's arresting French vocals ponder love and loss. Flipping the record, "Solar Heart" transports us to Peru via the Mediterranean, as vibrant cumbia rhythms are given a surf rock twist, Reminiscent of the classic gritty psychedelic strain of Peruvian cumbia yet very distinctly fresh, Beresikowa and Carrizosa's guitars take the lead, languidly followed by Andrea's loping bassline, Neupert's tight drumming and Moscoso's percussion. "Ma Belle Fille" and 'Solar Heart" showcase Saturno 4000's ability to reimagine classic sounds into new sonic possibilities, fitting seamlessly into Batov Record's Middle Eastern Groove series, known for its exceptional quality and innovation.

$26.00 IN STOCK

Bolbec, brand new project of childhood friends and multi-instrumentalists Axel Concato and Barth Corbelet, present their debut record, Victime De L'aube, on Batov Records. Drawing on their wide blend of musical tastes, from spiritual jazz and folk to classical and electronic sounds, Bolbec create an imaginary soundtrack that could easily sit beside the best of Piero Piccioni or Michel Legrand. The album features the duo playing over a dozen different instruments between them, with some heavyweight support from the Nostalgia 77 rhythm section. Whilst their names might not be household names, the pair have quietly built up a discography and reputation writing for, producing and recording for other artists. Axel's eclectic career includes producing some of the most exciting artists to break out of the underground Parisien scene, such as Steeple Remove and the sci-fi pop of Halo Maud, on Heavenly Recordings, and met success with his own Pi Ja Ma project, while Barth's ventures ranged from recording albums in his bedroom and raiding the annals of rock history with Hastings-based Del Vargas as Bosco Rogers, to writing songs for renowned artists like Hollie Cook. Victime De L'aube, embodies Bolbec's unique blend of musical tastes and eclectic instrumentation, and the album's title, which translates to "Victim of the Dawn," reflects the duo's exploration of the poignant emotions evoked by the breaking of dawn. Victime De L'aube showcases Bolbec's ambitious creative vision, transforming an array of instrumentation into poetic musical pieces that conjure moods and places. You can hear traces of Mal Waldron's "Warm Canto," and the Shoplifter soundtrack by Haruomi Hosono. Album standout "Vengeance Tropicale" is a spirited jazz number with an almost joropo swing, Piero Piccioni meets Aldemaro Romero perhaps. Whilst "Feuille D'orage," is a beautiful bossa jazz number, again showcasing the Bolbec's singular sound and musicality. Elsewhere, "À L'instar Du Flair," transports the listener on a modal jazz journey, recalling Yusef Lateef, and the evocative title track, "Victime De L'aube," promises to captivate listeners with its walking bass and suspenseful atmospherics. Bolbec's sound is an eclectic mix of deep jazz with the art of esoteric soundtracks, through lenses of electronica, folk, classical, and more, that is sure to captivate listeners on initial and subsequent hearings.

$24.00 LOW STOCK LEVEL

Middle Eastern psych, funk, disco, and Japanese folk and pop, converge to create a mesmerizing new sound on Kokoro, Sababa 5 and Yurika's collaborative debut album for Batov Records, collecting four acclaimed singles and four brand new songs. Renowned for their innovative approach to merging Middle Eastern psych, funk and disco grooves, Sababa 5 found their perfect partner in Japanese singer and belly dancer Yurika Hanashima, who having graced stages dancing with Boom Pam and Ouzo Bazooka, found her own voice alongside the group, and together yielded hits "Tokyo Midnight," "Nasnusa," and "Crossroad of Love," earning accolades from tastemakers such as Gilles Peterson, Cerys Mathews, and Jeremy Sole. In Kokoro, Sababa 5 and Yurika present a collection of tracks that transcend cultural boundaries and delve into the depths of human emotion. From the nostalgic romance of "Nasnusa" to the carefree "Halilim Halilim," each song on the album tells a story of love, sisterhood, and the journey of the soul. The title track, "Kokoro", which embodies the essence of the album's musical exploration, refers to the sky, the performers' journey together, and the moment. Psychedelic soul, with touches of the Mediterranean coast and desert. Opener "Empty Hands" explores Yurika's theory that "when you have empty hands you get everything", countered by the hypnotizing keys of Eitan Drabkin over an Afrobeat inspired groove, and bittersweet bassline from Amir Sadot. The playful and summery "Halilim Halilim" was inadvertently named by Dani Ever Hadani of Middle Eastern psych and surf rockers, Ouzo Bazouka, and alludes to how love enters and leaves our lives like the air blown through a flute. Ilam Smilan's exceptional guitar playing stands out, as does the unwavering groove and rhythm of drummer Raz Man. The second half of the record collects Sababa 5 and Yurika's earlier and incredibly popular singles. The attraction of Yurika's mesmerizing vocals over Sababa 5's infectious grooves is irresistible across Kokoro, and the album marks a significant milestone in both their musical journeys. As Sababa 5 continue to redefine their sound, and Yurika establishes herself as a vocalist of note, Kokoro stands as a testament to the power of collaboration and the timeless bonds of music, love and romance.

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Blue color vinyl version. Middle Eastern psych, funk, disco, and Japanese folk and pop, converge to create a mesmerizing new sound on Kokoro, Sababa 5 and Yurika's collaborative debut album for Batov Records, collecting four acclaimed singles and four brand new songs. Renowned for their innovative approach to merging Middle Eastern psych, funk and disco grooves, Sababa 5 found their perfect partner in Japanese singer and belly dancer Yurika Hanashima, who having graced stages dancing with Boom Pam and Ouzo Bazooka, found her own voice alongside the group, and together yielded hits "Tokyo Midnight," "Nasnusa," and "Crossroad of Love," earning accolades from tastemakers such as Gilles Peterson, Cerys Mathews, and Jeremy Sole. In Kokoro, Sababa 5 and Yurika present a collection of tracks that transcend cultural boundaries and delve into the depths of human emotion. From the nostalgic romance of "Nasnusa" to the carefree "Halilim Halilim," each song on the album tells a story of love, sisterhood, and the journey of the soul. The title track, "Kokoro", which embodies the essence of the album's musical exploration, refers to the sky, the performers' journey together, and the moment. Psychedelic soul, with touches of the Mediterranean coast and desert. Opener "Empty Hands" explores Yurika's theory that "when you have empty hands you get everything", countered by the hypnotizing keys of Eitan Drabkin over an Afrobeat inspired groove, and bittersweet bassline from Amir Sadot. The playful and summery "Halilim Halilim" was inadvertently named by Dani Ever Hadani of Middle Eastern psych and surf rockers, Ouzo Bazouka, and alludes to how love enters and leaves our lives like the air blown through a flute. Ilam Smilan's exceptional guitar playing stands out, as does the unwavering groove and rhythm of drummer Raz Man. The second half of the record collects Sababa 5 and Yurika's earlier and incredibly popular singles. The attraction of Yurika's mesmerizing vocals over Sababa 5's infectious grooves is irresistible across Kokoro, and the album marks a significant milestone in both their musical journeys. As Sababa 5 continue to redefine their sound, and Yurika establishes herself as a vocalist of note, Kokoro stands as a testament to the power of collaboration and the timeless bonds of music, love and romance.

$28.00 IN STOCK

Sandman Project's long awaited debut album Where Did You Go? is a borderless amalgam of brass heavy sounds, a document of a band whose musical tendencies mimic their open-minded ethic where Ethio-jazz, Afrobeat, American soul music and psychedelic, Mediterranean funk traverse. Led by guitarist and composer Tal Sandman, Tel Aviv based Sandman Projects' last release was in 2018 on their debut EP, their only existing recording. Six years later and it is no surprise this expansive work is positively brimming with an ocean of ideas, rooted in jazz, exceptionally crafted and boasting a myriad of musical pivots with a subtle but crucial production and synth touch by producer Tomer Baruch. Absolutely key to this new recording and Tal's adult musical upbringing and education is the ongoing influence of saxophonist Abate Barihun, sometimes known as the Ethiopian John Coltrane who is an Ethiopian Jew who emigrated to Israel in 1999. Whilst he doesn't feature directly on the record, Tal has long been mentored and stewarded by him and she affirms that "his inspiration continues to play a crucial role in my creative process." And so, to the album's title track "Where Did You Go?" which oozes film-noir with Tal's omnipresent Tizta sound using the Tezeta scales from Ethiopia dictating the mood whilst synths transcend and build an immersive soundscape something akin to Mulatu Astake jamming with the Fleet Foxes with Brian Eno-esque electronic manipulation. The Sandman project line up comprises of five core musicians with Tal Sandman on electric guitar, Tal Avraham playing trumpet, Tal Eyal on percussion, Noam Cherchie on drums, and Ariel Harrosh on bass. Additional synth and organ provided by producer Tomer Baruch and guest vocalist Dafna Shilon joins on the album closer "The Other Side." Further vintage synth excursions repeat on "Cauda Equina," with Tal's heavy fretting giving the track a funk feel, and a dreamy one as the trumpet builds. Six years in the waiting, and with plentiful personal and collective transformation giving Where Did You Go? a deeper sense of geography and global nuance, the new sound of Sandman Project is rich, porous and dreamy and essentially, full of hope.

$26.00 IN STOCK

Lost somewhere between the mysterious alleys of '70s Istanbul and the scorching sun and crystal blue sea of Jaffa, Tel Aviv, Şatellites self-titled debut album is presented by Batov Records. The Şatellites' sound shimmers between traditional Turkish folk and instrumentation, ethereal psychedelic guitar leads and groovy dance-floor baselines. The resulting concoction of songs draws on cross continental influence yet at its core is a desire to illuminate the vivid qualities of classic Turkish music, honoring the Anatolian folk and psych artists from this golden era of music. Covering important tracks such as female singer Kamuran Akkor's track "Olurmu Dersin," and musician and guitarist Zafer Dilek's "Yekte," the album covers an array of original pieces of different musical styles and sounds, that once have and continue to flow out of Turkey. The band boasts six members; Ariel Harrosh (Bass) Lotan Yaish (Drums), Yuli Shafriri (Vocals), Tsuf Mishali (Keys and Synths), Tal Eyal (Percussion) and Itamar Kluger (Diwan saz, both electric and acoustic, electric baglama, Greek four double string bouzouki). They came together some years after band leader Itamar Kluger discovered the saz whilst travelling the Kaçkar mountains in Turkey's eastern region. The saz being a long necked, plucked stringed instrument native to the rural areas of the country, which remains an integral part of Şatellites' union, and plays predominance throughout the bands' album and music. In the same way the guitar was electrified in the 1930s, the electrification of the saz in the 1960s led to an explosion of rock music dredged in middle eastern influence, a musical genre fittingly called "Anatolian Rock" and based on the principles of Anglo-American and psychedelic rock music, yet incorporating the style, rhythm, and scales of traditional Anatolian folk music. As such, throughout the creation of the album, the band conceived the idea of intertwining differing elements such as the groove of funk, the rhythm of disco, and reverb of psychedelic, with traditional middle-eastern rhythm and structure, opening up the wealth of Turkish music to the western world, so that anyone and everyone can relate to something from the album. With that said, Şatellites emphasize that their music is not fundamentally Turkish music, on the contrary, they merely try to sound as close to the genre as possible. Their sole aim is to honor this amazing culture and to present it to the world in a more accessible and attainable form. Presented on color vinyl.

$17.50 IN STOCK

Sababa 5, the relentless explorers of Middle Eastern psychedelic groove, present their latest tracks "Bezani" and "Ashkamoni" on their sixth 45 for Batov Records. With two albums, an EP featuring vocalist Shiran Tzfira, and five highly collectable 45s under their belt, Sababa 5 have established themselves as trailblazers in the global grooves scene alongside the likes of Altın Gün, Yin Yin, and Misha Panfilov. Garnering support from esteemed DJs and institutions such as BBC Radio 6, Radio Nova, Songlines, and Star Wax, the band's innovative fusion of diverse musical influences continues to captivate audiences worldwide. "Bezani" transports listeners on a sonic journey with its electric synths and percussion-fueled 6/8 rhythm. Drawing inspiration from early electronic sounds and Persian folk, the track creates a mesmerizing atmosphere that pushes the boundaries of genre blending. On "Ashkamoni," Sababa 5 showcase their versatility with a rockier feel infused with a rocksteady swing. The track's captivating melody builds dynamically, while the lead guitar and synth engage in enthralling solos, demonstrating the band's exceptional musical prowess. Sababa 5's collective experience backing a wide variety of international artists has no doubt driven their tight sound and ability to seamlessly fuse genres. With influences ranging from the world-renowned Funk Brothers, Wrecking Crew, and Daptones, to Middle Eastern psych, the band effortlessly blends diverse musical elements into their distinctive sound. "Bezani" and "Ashkamoni" mark another milestone in Sababa 5's musical journey, further solidifying their reputation as innovators in the world of psychedelic groove. Fans and music enthusiasts alike can expect to be enthralled by these latest additions to the band's impressive repertoire.

$15.50 IN STOCK

Les Dynamites make a jubilant return to Batov Records' Middle Eastern Grooves series of vinyl 45s with two irresistible instrumentals capturing the spirit of the Mediterranean surf rock renaissance, "Uzi Kinrot" and "Sea Gull." Comprising accomplished musicians Roy Bar-Tour, Atzmon Avrahami, and Adam Yodfat, Les Dynamites built themselves a strong following for their fresh blend of Mediterranean and classic surf rock with Balkan and Yemini folk, catching the attention of Middle Eastern groove connoisseurs Batov Records. Their debut single for the label, "Pop Oud #2," packed enough punch, and funk, for both psych fans and break dancers. Backed by a dubwise flip by digging pioneers Radio Trip, it received support from the likes of Juno, Monolith Cocktail and Worldwide FM. "Uzi Kinrot" takes its name from guitarists Uri Kinrot and Uzi Feinerman of Boom Pam, pioneers of today's resurgence in Middle Eastern surf rock. Ray Bar-Tour riffs like a Klezmer-playing Dick Dale over a Balkan sousaphone bass lines and snappy drum rhythms. Towards the end, Yemen Yehudith adds a special touch of traditional wailing, raising the excitement by another notch. On "Sea Gull", Les Dynamites pay tribute to Greek-Israeli guitarist and singer, Aris San, credited for being among the first to play the electric guitar like the six-stringed Greek bouzouki, and spreading the popularity of Greek and Mizrahi music. San's joyful and infectious style is bulked out by some Ventures-style grit, rock drumming and the Vox Jaguar, sixties style hammond, ready to uplift any hot and liquor-soaked dancefloor. Recorded in single takes with minimal overdubs, "Sea Gull" packs a powerful punch, avoiding the pitfalls of overthinking and multi-track re-recording. Recorded, co-arranged, produced, mixed and mastered by Uri "MixMonster" Wertheim of famed funk band The Apples, and obscure sample scientists, RadioTrip.

$20.00 LOW STOCK LEVEL

Singer, actress and cultural conduit for peace, Liraz releases a new collection of four songs, primed with an intensity and a raw musical revolt, energizing the Middle Eastern musical landscape, sung in Farsi and driven by her deep desire for positive energy and much needed global harmony and light. Co-written and recorded with Uri Brauner Kinrot (Ouzo Bazooka and Boom Pam).

$28.00 IN STOCK

Sun, sea, and surf rock converge with dreamy hypnagogic pop on Dmaot, the enchanting sophomore album by the guitar-wielding, vocal-harmonizing trio, Rasco. Named after Charlie Megira's acclaimed track "At the Rasco" and influenced by iconic artists like The Cramps, Beach Boys, Elvis, April March, and others, Rasco carefully extracts the essence and distinctive sound of sixties surf and garage bands and distils them into a modern and distinctly Mediterranean context. Electric guitarist Eden Atiya and bass guitar Gaya Wajsman first crossed paths in a smoky cave in Jerusalem, eventually teaming up with drummer Itay Hamudi to form Rasco. Rasco's hypnotic guitar and vocal-heavy sound have earned the group coveted opportunities to share the spotlight on stage alongside global psych bands such as Altin Gun, Boom Pam, and Messer Chups. Dmaot ("Tears") represents a significant evolution from Rasco's debut, showcasing a darker, and denser side with a shift towards the shoegazing sounds of the '80s. The album, produced by multi-instrumentalist Uri Brauner Kinrot, leader of Boom Pam, pioneers of today's resurgence in Middle Eastern surf rock and now labelmates on Batov Records, packs a heavier punch while maintaining Rasco's signature hypnotizing power. The album delves into dreamlike landscapes, capturing the essence of different scenarios. Dmaot explores the dichotomy between life in the city and life in the countryside. Eden notes, "It's definitely something to define our songwriting by -- the mix between electric heavier sounds and mystical, nature-inspired lyrics." Commencing with a chime-like guitar motif before the first heavy wave of shoegaze-like tremolo hits, "Layla" alternates with an almost Lynchian pre-chorus, whilst the song earworms its way to your brain. "Nahur Rau" almost screams "garage rock anthem" with its clap-accompanied beat group rhythm, and fuzz guitar riffs, but the energetic delivery is balanced by Rasco's laidback style. It would be remiss to omit mention of the group's incredible cover of Tears For Fears' "Head Over Heels," that seamlessly connects The Smiths, Julee Cruise, and the B-52s, in the group's own haunting style. Rasco is a genre-defying trio that transcends the boundaries of surf rock and psych, creating a mesmerizing blend of sound and emotion. Dmaot is a testament to their evolution as artists and their ability to weave a tapestry of sonic landscapes into their own world.

$28.00 IN STOCK

Popular brass-led ensemble, Kolonel Djafaar, unveil their second album Getaway, their first for Batov Records, seamlessly blending Afrobeat, Ethio jazz, and psych rock, whilst showcasing the band's evolution over the past couple of years. Having built a loyal local Antwerp following off of the success of their 2019 debut self-released album, Forgotten Kingdom, and growing reputation for electrifying stage performances, Kolonel Djafaar achieved worldwide recognition in 2021 for the Cold Heat EP on Batov Records. The group overcame busy schedules and frequent quarantine periods to hit the studio in February 2022 to lay down four tracks. However, the creative itch persisted, leading to an intense writing session in August, deep in the heart of a tranquil forest. From noon until midnight, the band immersed themselves in the creative process, embracing the freedom to make noise without restraint. Fueled by hearty breakfasts, unwavering focus, and the ambient clucking of chickens roaming the studio, Kolonel Djafaar crafted the majority of Getaway. This period marked a pivotal shift as a number of new band members joined just in time for the August sessions. Membership changes, including Emiel Lauryssen joining on trumpet, alongside guitarist Philip Matthhijnssens, the band's palette has broadened and new sounds are able to break through. From psychedelic rock and soul influence of the Daptone Records' affiliated Budos Band, surf rock ("Urban Dweller"), Morricone Spaghetti Western guitar, and Afro Cuban ("Kelmendi"), alongside the brassy Afrobeat and Ethio jazz vibes the group have been known for. Each track on Getaway holds a unique connection to at least one band member, and all benefit from a collaborative approach to songwriting. "Sparking Clover," an Ethio-inspired psych and soul groover penned by tenor saxophonist Doyin Smith, carries a poignant undertone inspired by personal loss, while psych rock leaning tracks like "Apologies in Advance" showcase the band's evolution and increasing professionalism in crafting a distinct sonic experience. The curious cover art depicts a lone individual heading down an empty city street towards a large mysterious glowing object, evoking the common emptiness and struggle of urban life, and the search for meaning or just something better. The band envision the object to represent this album, offering a beacon to like-minded listeners. Kolonel Djafaar invite music enthusiasts on an immersive journey, to Getaway, from the daily grind of life, on an album reflecting diverse influences and marking a new chapter in their musical exploration.

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Acclaimed Tel Aviv bassist, band leader, composer and producer Shay Hazan radiates with musical diversity on Wusul, his second solo album on Batov Records. 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. 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 are integral members of Hazan's live band, bringing a synergy and connection to the music that is palpable. 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. Wusul 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 in a larger, more intricate musical fabric. Hazan's profound exploration transcends traditional boundaries, weaving together a rich sonic tapestry that defies easy categorization.

$15.50 IN STOCK

Batov Records' Middle Eastern Grooves 45s series welcomes the latest addition to its eclectic roster -- a two-track EP from Eje Eje, the psych and funk inspired project from Şatellites band leader and producer, Itamar Kluger. Featuring the tracks "That Rainy Down" and "Coral Sex," the EP showcases Eje Eje's unique blend of Middle Eastern melodies, soulful grooves, and psychedelic sounds. On the A-side "That Rainy Down," The electro baglama player takes the lead, building and building as if, "he is pushing himself to his limit", says Itamar, "seeking catharsis as he walks to the edge of the cliff with confidence", whilst a baladi rhythm plays like an immense march of drummers. On the B-side is the funkier "Coral Sex", which according to Itamar tells a story of a drunk tramp bothering the refined and self-important occupants of an exclusive hotel lobby. Reflecting this friction, the track juxtaposes a silky and sophisticated R&B sound, with loosely, or even drunkenly, played take on rebetiko, a traditional Greek music associated with the poorest of city dwellers, played on a long-necked Greek lute known as a bouzouki. As each track develops, new layers are revealed, inviting the listener to delve deeper. The effect is intentional. As Itamar says, "there is this kind of music that hooks you in a different way every time you hear it, different places in the songs lighting up in different colors, like slowly revealed layers. In our (Eje Eje) case, it is just such a hazed blend. It could make a very specific atmosphere, color a very specific movie scene that is lost in time or yet to be directed, or a very specific moment with your headphones on a long bus to the desert." Itamar Kluger is best known for his work with the Satellites, a six-piece band whose blend of Turkish folk and psych with funk and disco won them champions and listeners across the globe, from KEXP in Seattle to BBC Radio 6 Music, and FIP in France. Eje Eje's first 45 promises to be at least as quirky and original, if not more so, since the project is even more unshackled from traditional concepts of a band.

$26.00 IN STOCK

Sababa 5 continues their musical journey following the success of their acclaimed self-titled debut album, which fused deep funk and Middle Eastern grooves. Their latest offering, still under the Batov Records label, ventures into more explorative and experimental instrumental compositions. While evolving their musical direction, Aspan delves into the realm of psychedelic rock while retaining the essence of the band's signature Middle Eastern groove.

$28.00 IN STOCK

The cosmic force that is Brighton's Wax Machine return with The Sky Unfurls, The Dance Goes On, a new album of lush, ambient and psych-toned folk that expands and unfurls across nine blissed out tracks, with Brazilian-born, Italian/English-raised Lau Ro continuing their personal journey with psychedelics and recently found obsession with water that has been heightened by a long overdue trip to Brazil. Teaming up once more with the London based, globally-looking imprint Batov Records, Wax Machine journey beyond the psych-folk universe, tapping into more ambient, classical, and world-folk sounds. Led by songwriter and singer Lau Ro, the recording sessions for The Sky Unfurls, The Dance Goes On gave space to the musicians involved to express themselves, in part searching for the sense of freedom and organic looseness found on the records of Alabaster Deplume and Don Cherry. Recorded in their own studio, Lau Ro was joined by Ozzy Moysey, Adam Campbell, Isobel Jones, and Toma Sapir, with Marwyn Grace and Ella Russell involved for the choir parts. However Wax Machine very much remains a personal journey for Lau Ro, a vehicle for them, as their music always has been, to explore and connect with themselves and the outside world, as they continue to do so on The Sky Unfurls; The Dance Goes On.

$15.50 IN STOCK

Sababa 5 have demonstrated their special blend of Middle Eastern psych, funk and disco over a course of eights 45s for Batov Records, a collaborative EP with singer Shiran Tzfira, and an acclaimed self-titled album. Hot off the back of extended instrumental faze, covering their self-titled debut album, that drew comparisons to the Menahan Street Band, and a pair of essential 45s overflowing with funk, Sababa 5 hit the studio to cut a pair of killer songs with Turkish synth, electro and alternative pop sensation Canay Doğan. Currently a member of the jazz department at Istanbul University, Canay has been releasing her own songs since 2021. Known for her versatility not only as a singer but across keyboards, drums and percussion, she can be seen accompanying many artists on vocals and keyboards. The collaboration came about after Canay heard Sababa 5's "Nasmusa", delving deeper and noting the similarities with Turkish music she reached out to suggest they work together. Compounded by Sababa 5 already having a presence in Turkey, it was meant to be. Dreamy and melancholic synths meet gritty funk rhythms on "Bigâne". According to Canay, the song addresses issues around depressions about the relative meaninglessness of life, the emptiness of so many questions and answers, and the "variability of the truth". The urgent music of "Namdar" backs a paean to the fakeness of most friendships, and empty daily questions such as "how are you?", and how many so-called friends are in truth jealous and bitter. The deep and searching questions of Canay's lyrics give weight to the beautiful vocals that almost float over Sababa 5's compelling grooves. "Bigâne" and "Namdar" add another deadly string to Sababa 5's bow and are essential grooves.

$24.00 NOT IN STOCK

Led by tenor saxophonist and composer Niklas Mündemann, Muito Kaballa are a collective based in Cologne. Originally started as a one-man loop station street show, the project has grown to be known for its eclectic and mesmerizing live show. Acting as the introduction to the musical world and lyrical narratives of the upcoming record "Like A River", the track, leans into the river theme, providing an all-encompassing, flowing journey. Tim von Malotki's percussive bass clarinet lines cut through the meandering wash of Benjamin Schneider's rootsy, highlife-inspired guitars and atmospheric piano flourishes, courtesy of Jan Janzen. Vocalist Nora Beisel floats across the arrangement, backed by emotive horn harmonies whilst reflecting on the change of path at the end of a relationship; a new orientation and course set. "Musically we tried to really engage with the river metaphor. We worked with all these 'water' sounds and effects that kind of produce this ocean vibe. As the song evolves, it also follows along this idea of a river that grows stronger and more dangerous as the current grows." An album focused on transitional moments in life, and separation from ingrained social ideals, Like A River is anchored around the three movements of "Like A River Parts I-III" which act as the record's source, middle and end point. Set to be accompanied by a film to which these movements are the score, it's an achievement of songwriting and collective arrangement, incorporating wide-ranging influences that span Afrofunk, Gnawa, contemporary jazz, and rumba. Whereas their previous albums have mostly linked to afrobeat, and addressed topics like social equality, racial politics and climate change, Like A River is a concept album that takes a more intimate, personal approach. "The album deals with transitioning and separations, taking on ideas like: at age 30 you should definitely have children, a house and a car, or ideas on how to live relationships and love. Separating from these ideas or overcoming them can be challenging..." Tracks such as "Like A River Part II" dip into swirling psychedelia centered around an explorative 12/8 groove, whilst "Carry Me" takes a subtle shift away from the '70s analog sounds favored by the band, combining full bodied synth soundscapes with euphoric horn arrangements. Not content with just its core members, the group also employ the skills of Belgo-Congolese vocalist Reinel Bakolé for "Let Go" and "All This While", further expanding their pool of influence into the world of future soul.

$15.50 IN STOCK

Sababa 5, Tel Aviv's funkiest export, upgrade their signature Middle Eastern psychedelic funk with the addition of Hoodna Orchestra's dynamic brass section, another essential 45 from Batov Records' Middle Eastern Groove series. Sababa 5 have created a modern sound, fusing funk, disco, and psychedelic rock with a wide range of Middle Eastern influences, culminating in last year's acclaimed self-titled debut album, named after their new studio address on the border of Jaffa and Tel Aviv, "Eilat 22" and "Elifelet 23" spring from the same sessions that delivered Funk #1/Funk #2 45 (BTR 076EP). Sababa 5's tight-as-ever instrumental grooves are enriched by the bright bass sounds of The Hoodna Orchestra brass section, comprising Bar Ashkenazi on trumpet, Eylon Tushiner on tenor, and Elad Gelert on baritone saxophone. Hoodna are renowned for their energetic take on Afrobeat, and have been touring and recording recently with Ethio jazz legend Mulatu Astatke, and here they supply a touch of JB's meets Africa '70 energy. On "Eilat 22" the Sababa 5 rhythm section of Raz Man on drums and Amir Sadot on bass is in full funk force, supporting a vibrant hook from the Hoodna brass section, leaving room for solos from guitarist Ilan Smilan and synth mage Eitan Drabkin, full of Middle Eastern flavor. On the flip "Eiffelet 23" grooves along like a Dap Kings funk nugget, except in this case there's room for Eitan to improvise across the jam with a microtonal organ sound reminiscent of legendary Egyptian musician Magdi elHusseini.

$26.00 LOW STOCK LEVEL

Batov Records presents Five Seasons, the debut album by Eje Eje, the brand-new solo project of Itamar Klüger of the Şatellites. A fresh and contemporary world incorporating the rich diversity of Middle Eastern and Mediterranean musical styles with psych, funk, dub, and other internationally known sounds. Itamar Kluger is best known for his work with the Şatellites, a six-piece band whose blend of Turkish folk and psych with funk and disco won them champions and listeners across the globe. With Eje Eje, Itamar brews a fresh blend of psychedelic rock and funk, incorporating a wide range of influences, from Levantine dabke, Persian bandari music played at weddings and other celebrations, the traditional "Khaliji" music heard across the Gulf, and Turkish traditional folk music, to the more international renown sounds of Afrobeat, Saharan blues, indie rock, electronica, and Jamaican roots and dub. Eje Eje's special blend of musical perspectives reflects Itamar's interest in humankind's subjective perception of reality, informed by national and global cultural movements and traditions, and insistence on collectively creating and sharing stories, at times to explain the unexplainable. Itamar noted the difference between the symmetrical Western concept of four seasons, celebrated by Vivaldi, versus the five seasons of the Chinese calendar, winter, spring, summer, end of summer, and fall. The end of summer is a short season, characterized by the elemental earth, the time of year when fruit fall and rot beneath the trees. Each of the tracks on 'Five Seasons' reflects the spirit of the season in which it was written, and the terrain that inspired it, from the arid, mountainous desert to the sleepy streets of Eje Eje's hometown of Haifa and the busy crowded streets of Jaffa, Tel Aviv, where he currently resides. Bass and percussion combine into a deadly groove on the lead single "Black Sea Majic", laying the groundwork for a mantra-like saz to lead the melody, accompanied by giggling synths, mimicking the sound of the woodwind Armenian duduk, building into a continuous trace, the beginning half forgotten and the end lost. Hearing it back, Itamar imagines a bustling market in a small town by the shores of the Black Sea. Recorded in spring, "Saved From The Jazz" provided the first taste of this new project, appearing on Batov Records' first full compilation of "Middle Eastern Grooves". A beautiful collage of guitar grooves over a deadly drum rhythm. This continues on "That Rainy Dawn", a winter piece that slowly evolves, featuring an electro baglama over an Egyptian baladi rhythm.

$26.00 IN STOCK

Boom Pam, widely renowned for their spellbinding Middle Eastern guitar music, have unveiled their highly anticipated fifth album, Royal. Celebrating their twentieth anniversary, the Tel Aviv based band combine cinematic atmospherics and high-powered surf rock on their first album for international ambassadors of Middle Eastern grooves, Batov Records. Over the course of eight thrilling tracks, Royal leads listeners on a topsy-turvy journey from Middle Eastern exotica to Spaghetti Western style scores, via scorching Mediterranean beaches. Highlights of the album include the surf-meets-Western delights of "Silver Lining", where irresistible guitar lines are piled high and topped with euphoric synths and rock drums, resulting in a timeless soundtrack for both headless nights in dive bars and heedless days at the funfair. "Juda" follows, a deadly combination of Zeppelin and Middle Eastern rock with subtle hints of synth funk. The track is named after living legend and Middle Eastern guitar hero, Yehuda Keisar, who also joins the band for this song, contributing a scorching solo. The thunderous guitar riffs are matched pound-for-pound by the irresistible percussive groove. Boom Pam "Rock the Casbah" on title track "Royal", revealing another card up their sleeve, as they transform a famous '80s Israeli radio theme into a disco-inspired super jam with a punk edge. The band maintain their reputation for first-rate and distinctive surf rock on the fast paced "Daber Yafé" and "Monsour". The sonic imprint is both warmed and widened by the rare addition of a tuba supplying the lower frequencies. Meanwhile, opener "Lava Tongue", and "Golden" emphasize the melodic side to the band, conjuring dreamy sunset mirages to hypnotize the listener. Boom Pam have established themselves as pioneers of modern Middle Eastern surf rock, combining sophisticated yet catchy guitar riffs, with roaring tuba basslines and fiery drums. In the past decade the band have frequently collaborated with and backed legendary Turkish folk singer-songwriter, Selda Bagcan, on stage and record, and performed at some of the world's most renowned festivals, including Primavera Sound, Lollapalooza, Fuji Rock, the Montreal Jazz Festival, and many more. An engaging listen from beginning to end, Royal is the perfect representation of Boom Pam's incredible 20-year journey, showcasing their superior skills in pushing the boundaries of their genre.

$20.50 IN STOCK

2023 repress. Originally released in 2019. Saadia Jefferson is a glorious act of vandalism on Yemeni traditions led by inventor, carpenter, musician, and composer, Eyal El Wahab. Dismantling lyrics, melodies, and compositions from Yemeni folk songs, El Khat delve into uncharted sonic territory updating Yemen's ancient culture. Using an orchestra of instruments old and new, many repurposed from junk objects and turned into instruments that sound similar to traditional Arabic and North African lutes and percussion, Tel Aviv based El Khat have imagined an indelible stamp of polyphonic, harmony soaked, pan-Arabic braindance. Hover over the tracks and you can pick out certain influences such as Omar Souleyman and dabkecfolk characterized by trance-inducing chants ("Wahed Mozawej"), the searing Ethiopique organ of Mulatu Astatke ("Ala Jina Nuhayiykum"), and the unashamedly sing-along choruses of Bowie or McCartney ("Balagh Al Achbaab"), but the over-arching concept within Saadia Jefferson is Eyal's sense of identity, or lack of it, as a Yemeni living in Tel Aviv. The album is the rewards of a self-imposed mission to discover Eyal El Wahab's Yemeni roots.

$24.00 LOW STOCK LEVEL

Kolonel Djafaar's Cold Heat packs a mighty punch, combining the irresistible charm of Ethio jazz and psych rock with the power of a big band brass section, that has made them a formidable live force across Belgium. As they come into their own cinematic sound, now is the time for them to be enjoyed more widely, thanks to masters of exotic groove, Batov Records. Kolonel Djafaar's debut release for Batov is an all-killer-no-filler EP. On "Bactrian Camel," the four-man brass section picks up a thundering groove, only for the organ-led rhythm section to answer with their own snaking retort. Joris Wendelen's electric guitar riffing adds a further Middle Eastern flavor to the stew. Written by trombonist Willem De Mol, who delivered the song after two months alone in Russia, "Lamentation" continues the Ethio vibe with a little Latin panache. The brass-led tone here is mysterious, the melody lingers. An almost surf-esque guitar solo transports the listener before the main groove on organ and brass recalibrates you to the solid rhythm. Comparable to, but distinct from, The Budos Band and Comet is Coming, the low-slung sounds of "Recording 68" in particular reveal Kolonel Djafaar coming into their own. The tempo drops, emphasizing the depth of the groove. The EP is appropriately closed in cinematic style on "The Heist". The pace picks up. Drums of death, in the mode of DJ Shadow or Unkle, hold up the distorted synths and that sharpest of horn sections. A song ready for the dirtiest of chase scenes. Cold Heat is suitably titled. Fast or slow, killer grooves that will take no prisoners. A taste of Kolonel Djafaar's power on stage and the clearest picture yet of their direction in sound. Cream color vinyl.