GLITTERBEAT - Forced Exposure

$28.00 IN STOCK

LP version. The celebrated Rwandan folk duo returns with a resonant fifth album, Rwanda Sings with Strings. The record combines their signature earthy vocals and acoustic instrumentation (guitar and hand percussion) with atmospheric cello and violin arrangements, creating a soundscape that vividly brings to life their powerful stories of resilience, memory, and longing. Recorded 100% live without overdubs in a hotel room by Grammy-winning producer Ian Brennan (Tinariwen, Ramblin' Jack Elliott, Parchman Prison Project), the album delivers an unusually intimate listening experience. Reflective, unfiltered and deeply human. For The Good Ones' fifth album, Ian Brennan scheduled a cellist and violinist to accompany the duo. The entire album was recorded in single takes without written scores or demos. The arrangements were improvised on the fly by the two string players who also didn't know each other. Within minutes of meeting all four musicians were recording -- their only communication, musical. "It was all an experiment," reports producer Ian Brennan, "but the second the strings entered during the intro of 'Agnes Dreams of Being an Artist,' it felt like the room began levitating and there was no doubt that something magical and profoundly beautiful was occurring. The album is extraordinarily ethereal -- even by their high standards." The session fulfilled the group's long-held dream to have main writer, guitarist, and lead vocalist, Adrien Kazigira's songs performed with strings. Sequestered in a Washington, DC hotel room the day prior to The Good Ones NPR "Tiny Desk" session, the musicians recorded nineteen songs in just three hours. Kazigira was so happy with the experience, afterwards, he wrapped his arms around the cello, as he lay chuckling and exhausted on the couch. The album's sound is steeped in a romanticism, longing, and a sense of resigned grandeur that echoes Malian balladeers like Boubacar Traoré or even Nick Drake and Astral Weeks. Perfect Sunday morning listening. Decidedly an underground group, The Good Ones' renown is nonetheless evidenced by the stellar musicians who've collaborated with them in the past, including members of Wilco, TV on the Radio, Sleater-Kinney, My Bloody Valentine, and Fugazi, and also by the vocal supporters that they've attracted such as Led Zeppelin legend Robert Plant. Kazigira states, "We are so thankful that music has taken us so many places that we never dreamed of visiting. And this new album has given us hope and really carried us through the hard times."

$15.50 IN STOCK

The celebrated Rwandan folk duo returns with a resonant fifth album, Rwanda Sings with Strings. The record combines their signature earthy vocals and acoustic instrumentation (guitar and hand percussion) with atmospheric cello and violin arrangements, creating a soundscape that vividly brings to life their powerful stories of resilience, memory, and longing. Recorded 100% live without overdubs in a hotel room by Grammy-winning producer Ian Brennan (Tinariwen, Ramblin' Jack Elliott, Parchman Prison Project), the album delivers an unusually intimate listening experience. Reflective, unfiltered and deeply human. For The Good Ones' fifth album, Ian Brennan scheduled a cellist and violinist to accompany the duo. The entire album was recorded in single takes without written scores or demos. The arrangements were improvised on the fly by the two string players who also didn't know each other. Within minutes of meeting all four musicians were recording -- their only communication, musical. "It was all an experiment," reports producer Ian Brennan, "but the second the strings entered during the intro of 'Agnes Dreams of Being an Artist,' it felt like the room began levitating and there was no doubt that something magical and profoundly beautiful was occurring. The album is extraordinarily ethereal -- even by their high standards." The session fulfilled the group's long-held dream to have main writer, guitarist, and lead vocalist, Adrien Kazigira's songs performed with strings. Sequestered in a Washington, DC hotel room the day prior to The Good Ones NPR "Tiny Desk" session, the musicians recorded nineteen songs in just three hours. Kazigira was so happy with the experience, afterwards, he wrapped his arms around the cello, as he lay chuckling and exhausted on the couch. The album's sound is steeped in a romanticism, longing, and a sense of resigned grandeur that echoes Malian balladeers like Boubacar Traoré or even Nick Drake and Astral Weeks. Perfect Sunday morning listening. Decidedly an underground group, The Good Ones' renown is nonetheless evidenced by the stellar musicians who've collaborated with them in the past, including members of Wilco, TV on the Radio, Sleater-Kinney, My Bloody Valentine, and Fugazi, and also by the vocal supporters that they've attracted such as Led Zeppelin legend Robert Plant. Kazigira states, "We are so thankful that music has taken us so many places that we never dreamed of visiting. And this new album has given us hope and really carried us through the hard times."

$15.50 IN STOCK

All Living Things is a tender and profound meditation on the miracle of life. It is suffused with reverence and gratitude for the chance to simply be a living being on this planet at this time. Park Jiha explores this vision through idiosyncratic and deeply personal methods. Like its critically acclaimed predecessors, Philos (2018) and The Gleam (2022), All Living Things features her playing every instrument, meticulously overdubbed and layered in the studio to create sumptuous sound worlds. She employs an array of Korean instruments -- piri, yanggeum and the saenghwang -- alongside flute, glockenspiel, bells, her voice and, most crucially, electronics. On All Living Things, her music has undertaken a decided turn towards sonic experimentation and contemporary sound design. The opening track, "First Buds," is the perfect example of this approach. As the title suggests, it feels like a gentle opening up, delicate and full of promise, the acoustic instruments intertwining with more elusive and otherworldly textures. The track that follows is "Grounding," a hypnotic composition that evolves in luminous cycles and reveals Park Jiha's stylistic debt to minimalism. "Growth Ring," is a dialogic game between the saenghwang and piri, both instruments bringing a distinctive atmosphere to a composition that represents maturity; a concept that expands as the album continues. The first single, "Blown Leaves," features a seductive saenghwang melody that is doubled by shimmering and escalating electronics. The record's final track, "Water Moon" with its softly struck glockenspiel, creates a childhood, music box innocence that hints at new beginnings and a sense of having come full circle. The album as a whole manifests Park's deeply personal take on the lifecycle, evolving from birth to growth, maturity to decline and finally death. This conceptual structure deliberately encourages listeners to engage with the album from start to finish. As she puts it, the album itself is "a cycle expressing the hope and beautiful uncertainty that I tried to bring into the music."

$28.00 IN STOCK

LP version. Part technicolor fever dream, part polyrhythmic Dadaist frolic, Chak Chak Chak Chak is the latest full-length from avant-garde Colombian singer-songwriter Julián Mayorga, an album that brilliantly brings to life his absurdist post-cumbia infused psychedelia. Broadcasting from the fertile cauldron of his current headquarters in Madrid, where he has lived for the past ten years, Mayorga has created the next compelling phase of his self-proclaimed "timbre rebellion." Inspired by the sounds of unconventional musical instruments -- frying pans, mortar and pestle, knives and plates -- his debut release on Glitterbeat (his ninth in all) curdles with an uncanny energy and satirical wit. Mayorga's songs are layered, multi-dimensional constructs. They evoke the illusory edge-lands that emerge where urban and rural meet, and echo memories originating in the working-class neighborhoods of his Tolima birthplace -- places abundant with greasepaint and grime, vitality and color. It is indeed not at all surprising that Mayorga counts daring, idiom-defying musical oddballs like Tom Zé, Tom Waits, Renaldo and the Loaf, Captain Beefheart and The Residents (whose classic 1978 cut Semolina is reconfigured here in an intoxicating locomotive rush) as kindred influences. The album's offbeat allegories and anti-capitalist broadsides ooze tropical mischief, dystopian noise and a love for folkloric bestiaries. They are a gloriously bewildering assault on the totems of hegemony and tyranny -- cultural, personal, political and musical. An unrelenting sonic cyborg engine -- part-machine, part-human -- with spluttering gears, gnashing teeth and stuttering cogwheels grinding up against the shrapnel alluded to in the album's onomatopoeic title. Chak Chak Chak Chak is Julian Mayorga divining gold amid the ordure.

$15.50 IN STOCK

Denmark-based Tunisian producer Sofyann Ben Youssef has already created whole new worlds of sound. His startling debut as AMMAR 808 -- 2018's Maghreb United -- fused thumping TR-808 drum machine rhythms and bone-rattling bass with traditional North African folk instrumentalists and vocalists from Tunisia, Algeria and Morocco, suggesting a pan-Maghreb science-fiction mash-up worthy of William Burroughs' most fevered dreams. For his latest album -- Club Tounsi -- he sets his sights on home, with an album that investigates and explores the vibrant folk tradition of his native Tunisia. Named after the ancient mezoued goatskin bagpipes that provide the music's sinuous melodies, it's traditionally accompanied by popular singers also backed by clattering hand drums. Originating in the 1950s, when a surge of rural migrants flocked to the capital Tunis in search of work, it's the music of the downtrodden and the underdog, long frowned upon by polite Tunisian society. As AMMAR 808 explains, the music persisted. "It evolved out of that stigmatization and became something that actually speaks to all Tunisians, because it takes its roots from all available music in Tunisia." In Mezoued, you'll find Sufi devotional hymns, malouf melodies, Arabic scales and ancient folksong all part of one repertoire. Although it´s lyrics are preoccupied with hardship and the pain of love, Mezoued music wants to party hard. And rhythm is the key. On Club Tounsi, AMMAR 808 takes this "festive" tradition and reimagines it for the 21st century with pulsating basslines, shimmering synths, crunching distortion and mechanistic drum machine rhythms. Featuring Brahim Riahi, Mahmoud Lahbib, and Mariem Bettouhami.

$15.50 IN STOCK

Part technicolor fever dream, part polyrhythmic Dadaist frolic, Chak Chak Chak Chak is the latest full-length from avant-garde Colombian singer-songwriter Julián Mayorga, an album that brilliantly brings to life his absurdist post-cumbia infused psychedelia. Broadcasting from the fertile cauldron of his current headquarters in Madrid, where he has lived for the past ten years, Mayorga has created the next compelling phase of his self-proclaimed "timbre rebellion." Inspired by the sounds of unconventional musical instruments -- frying pans, mortar and pestle, knives and plates -- his debut release on Glitterbeat (his ninth in all) curdles with an uncanny energy and satirical wit. Mayorga's songs are layered, multi-dimensional constructs. They evoke the illusory edge-lands that emerge where urban and rural meet, and echo memories originating in the working-class neighborhoods of his Tolima birthplace -- places abundant with greasepaint and grime, vitality and color. It is indeed not at all surprising that Mayorga counts daring, idiom-defying musical oddballs like Tom Zé, Tom Waits, Renaldo and the Loaf, Captain Beefheart and The Residents (whose classic 1978 cut Semolina is reconfigured here in an intoxicating locomotive rush) as kindred influences. The album's offbeat allegories and anti-capitalist broadsides ooze tropical mischief, dystopian noise and a love for folkloric bestiaries. They are a gloriously bewildering assault on the totems of hegemony and tyranny -- cultural, personal, political and musical. An unrelenting sonic cyborg engine -- part-machine, part-human -- with spluttering gears, gnashing teeth and stuttering cogwheels grinding up against the shrapnel alluded to in the album's onomatopoeic title. Chak Chak Chak Chak is Julian Mayorga divining gold amid the ordure.

$28.00 IN STOCK

LP version. All Living Things is a tender and profound meditation on the miracle of life. It is suffused with reverence and gratitude for the chance to simply be a living being on this planet at this time. Park Jiha explores this vision through idiosyncratic and deeply personal methods. Like its critically acclaimed predecessors, Philos (2018) and The Gleam (2022), All Living Things features her playing every instrument, meticulously overdubbed and layered in the studio to create sumptuous sound worlds. She employs an array of Korean instruments -- piri, yanggeum and the saenghwang -- alongside flute, glockenspiel, bells, her voice and, most crucially, electronics. On All Living Things, her music has undertaken a decided turn towards sonic experimentation and contemporary sound design. The opening track, "First Buds," is the perfect example of this approach. As the title suggests, it feels like a gentle opening up, delicate and full of promise, the acoustic instruments intertwining with more elusive and otherworldly textures. The track that follows is "Grounding," a hypnotic composition that evolves in luminous cycles and reveals Park Jiha's stylistic debt to minimalism. "Growth Ring," is a dialogic game between the saenghwang and piri, both instruments bringing a distinctive atmosphere to a composition that represents maturity; a concept that expands as the album continues. The first single, "Blown Leaves," features a seductive saenghwang melody that is doubled by shimmering and escalating electronics. The record's final track, "Water Moon" with its softly struck glockenspiel, creates a childhood, music box innocence that hints at new beginnings and a sense of having come full circle. The album as a whole manifests Park's deeply personal take on the lifecycle, evolving from birth to growth, maturity to decline and finally death. This conceptual structure deliberately encourages listeners to engage with the album from start to finish. As she puts it, the album itself is "a cycle expressing the hope and beautiful uncertainty that I tried to bring into the music."

$28.00 IN STOCK

LP version. Denmark-based Tunisian producer Sofyann Ben Youssef has already created whole new worlds of sound. His startling debut as AMMAR 808 -- 2018's Maghreb United -- fused thumping TR-808 drum machine rhythms and bone-rattling bass with traditional North African folk instrumentalists and vocalists from Tunisia, Algeria and Morocco, suggesting a pan-Maghreb science-fiction mash-up worthy of William Burroughs' most fevered dreams. For his latest album -- Club Tounsi -- he sets his sights on home, with an album that investigates and explores the vibrant folk tradition of his native Tunisia. Named after the ancient mezoued goatskin bagpipes that provide the music's sinuous melodies, it's traditionally accompanied by popular singers also backed by clattering hand drums. Originating in the 1950s, when a surge of rural migrants flocked to the capital Tunis in search of work, it's the music of the downtrodden and the underdog, long frowned upon by polite Tunisian society. As AMMAR 808 explains, the music persisted. "It evolved out of that stigmatization and became something that actually speaks to all Tunisians, because it takes its roots from all available music in Tunisia." In Mezoued, you'll find Sufi devotional hymns, malouf melodies, Arabic scales and ancient folksong all part of one repertoire. Although it´s lyrics are preoccupied with hardship and the pain of love, Mezoued music wants to party hard. And rhythm is the key. On Club Tounsi, AMMAR 808 takes this "festive" tradition and reimagines it for the 21st century with pulsating basslines, shimmering synths, crunching distortion and mechanistic drum machine rhythms. Featuring Brahim Riahi, Mahmoud Lahbib, and Mariem Bettouhami.

$28.00 LOW STOCK LEVEL

LP version. This legendary Istanbul band remains the most experimental exponent of the hotly-tipped contemporary Turkish psych-rock scene. BaBa ZuLa are revered sonic trailblazers who have built a cult following in all corners of the globe and can count members of Einstürzende Neubauten, Can, and Nick Cave the Bad Seeds as their fans. Pulsing, hypnotic tracks powered by Turkish percussion, glitched electronics, deep bass, electric saz and dual male/female vocals. İstanbul Sokakları (Streets of Istanbul) is a vivid sonic and political statement from a band that continues to show listeners the future. It's a modus operandi that has marked them out as true iconoclasts. "Lots of Turkish musicians are fundamentalists," says co-founder and multi-instrumentalist Levent Akman. "They want it acoustic, and they hate Murat because he plays electric. We are trying to break these kinds of borders." Their latest album İstanbul Sokakları (Streets of Istanbul) contains no shortage of the hypnotic jams that have become their calling card. Across three extended pieces -- the six-minute "Arsız Saksağan (Cheeky Magpie)," the eight-minute "Yaprakların Arasından (In Between the Leaves)" and the eleven-minute "Yok Haddi Yok Hesabı (No Limits No Calculation)," they delve deep into group meditations that surge and swell with relentless percussion, dark atmospherics constantly pushed into ecstatic peaks by the biting electric saz, and vocals by turns seductive and exhorting by Murat Ertel and female vocalist (and spouse), Esma Ertel.

$28.00 IN STOCK

LP version. Kuunatic's hotly anticipated second album Wheels of Ömon takes another adventuresome deep dive into their self-made fantasy mythology, proposing whole new worlds of psychedelic drama and ritual. In addition to their core sonic palette of tribal drums, pulsing bass, atmospheric keyboards and grouped female vocals, the acclaimed Japanese psych-rock trio played an array of Japanese traditional instruments on Wheels of Ömon. The result is a thrilling, kaleidoscopic album that brushes against tradition as it whirls into an other-worldly future. Kuunatic are the trio of Fumi Kikuchi on keyboards, Shoko Yoshida on bass and Yuko Araki on drums. All three of them also sing. They formed in 2016 and released an EP and 7" single before, in 2021, dropping their debut album, Gate of Klüna (GB 117CD, 2021), on an unsuspecting public. Wheels of Ömon builds on the story of Gate of Klüna with more tales of prophecy, mysterious powers and magical healing lakes. Kuunatic's imaginative flights of visionary fancy achieve the same kind of epic, science-fiction world-building as legendary French jazz-prog heroes, Magma. But their inspirations come from further afield. "The three of us listen to completely different types of music so our ideas and influences come from all different places," they say. "We create fantasy stories," they say, "but it's deeply influenced by historical events that happened on Earth. So, when we stayed in Switzerland, looking at the Alps and Vallée du Rhône, they made us imagine vast histories of a grand Earth and times of several hundred million years ago. Perhaps it's this majestic natural setting that has imparted to the new album a deep connection to folk traditions, to human stories, to the very roots of storytelling. It's a mood that manifests most powerfully in the album's varied use of Japanese traditional instruments. Throughout the album, Kuunatic play chappa (hand-sized cymbals used at temple rituals or festivals), sasara (a percussion instrument of 108 wooden plates strung with a cotton cord), ryuteki (a flute used in gagaku), kagurabue (a flute used for Japanese traditional shrine music) ougidaiko (a fan-shaped hand drum), kokiriko (small bamboo stick instruments), and wadaiko (a huge traditional drum that has been used for rituals or festivals since ancient times).

"Grumbling psych played on a whirring blender of guitars, synths and traditional Japanese temple instruments" -- The Wire

$15.50 IN STOCK

This legendary Istanbul band remains the most experimental exponent of the hotly-tipped contemporary Turkish psych-rock scene. BaBa ZuLa are revered sonic trailblazers who have built a cult following in all corners of the globe and can count members of Einstürzende Neubauten, Can, and Nick Cave the Bad Seeds as their fans. Pulsing, hypnotic tracks powered by Turkish percussion, glitched electronics, deep bass, electric saz and dual male/female vocals. İstanbul Sokakları (Streets of Istanbul) is a vivid sonic and political statement from a band that continues to show listeners the future. It's a modus operandi that has marked them out as true iconoclasts. "Lots of Turkish musicians are fundamentalists," says co-founder and multi-instrumentalist Levent Akman. "They want it acoustic, and they hate Murat because he plays electric. We are trying to break these kinds of borders." Their latest album İstanbul Sokakları (Streets of Istanbul) contains no shortage of the hypnotic jams that have become their calling card. Across three extended pieces -- the six-minute "Arsız Saksağan (Cheeky Magpie)," the eight-minute "Yaprakların Arasından (In Between the Leaves)" and the eleven-minute "Yok Haddi Yok Hesabı (No Limits No Calculation)," they delve deep into group meditations that surge and swell with relentless percussion, dark atmospherics constantly pushed into ecstatic peaks by the biting electric saz, and vocals by turns seductive and exhorting by Murat Ertel and female vocalist (and spouse), Esma Ertel.

$15.50 IN STOCK

Kuunatic's hotly anticipated second album Wheels of Ömon takes another adventuresome deep dive into their self-made fantasy mythology, proposing whole new worlds of psychedelic drama and ritual. In addition to their core sonic palette of tribal drums, pulsing bass, atmospheric keyboards and grouped female vocals, the acclaimed Japanese psych-rock trio played an array of Japanese traditional instruments on Wheels of Ömon. The result is a thrilling, kaleidoscopic album that brushes against tradition as it whirls into an other-worldly future. Kuunatic are the trio of Fumi Kikuchi on keyboards, Shoko Yoshida on bass and Yuko Araki on drums. All three of them also sing. They formed in 2016 and released an EP and 7" single before, in 2021, dropping their debut album, Gate of Klüna (GB 117CD, 2021), on an unsuspecting public. Wheels of Ömon builds on the story of Gate of Klüna with more tales of prophecy, mysterious powers and magical healing lakes. Kuunatic's imaginative flights of visionary fancy achieve the same kind of epic, science-fiction world-building as legendary French jazz-prog heroes, Magma. But their inspirations come from further afield. "The three of us listen to completely different types of music so our ideas and influences come from all different places," they say. "We create fantasy stories," they say, "but it's deeply influenced by historical events that happened on Earth. So, when we stayed in Switzerland, looking at the Alps and Vallée du Rhône, they made us imagine vast histories of a grand Earth and times of several hundred million years ago. Perhaps it's this majestic natural setting that has imparted to the new album a deep connection to folk traditions, to human stories, to the very roots of storytelling. It's a mood that manifests most powerfully in the album's varied use of Japanese traditional instruments. Throughout the album, Kuunatic play chappa (hand-sized cymbals used at temple rituals or festivals), sasara (a percussion instrument of 108 wooden plates strung with a cotton cord), ryuteki (a flute used in gagaku), kagurabue (a flute used for Japanese traditional shrine music) ougidaiko (a fan-shaped hand drum), kokiriko (small bamboo stick instruments), and wadaiko (a huge traditional drum that has been used for rituals or festivals since ancient times)."

"Grumbling psych played on a whirring blender of guitars, synths and traditional Japanese temple instruments" -- The Wire

$15.50 IN STOCK

Mute is an album that explores distance, speech -- and the lack of it. It's a series of musings on people, places -- and leaving. The record began life with the core of El Khat -- multi-instrumentalist el Wahab, percussionist Lotan Yaish, and organist Yefet Hasan -- recording in an isolated village underground shelter. "My state of mind at the time affected the compositions even before I wrote the music," el Wahab notes, "and the isolated location gave us a chance to make sense of that." Following those sessions, in the summer of 2023 the group emigrated to Berlin; a far cry from Jaffa, where they'd largely grown up. The move was an expression of the nomadic urge that has been a constant in el Wahab's life, one that flows directly into his work. "These songs are about emigrating, leaving someone or somewhere. I don't think I've stayed in any one place for more than a year. For us Arab Jews whose families were forced to leave Yemen, it really began with that big move and our families' arrival in Israel, a land with a constant muting of the 'other'." Mute, he feels, is "a big and meaningful record." It's a story of endings and new beginnings. "But that's true of all our albums" el Wahab insists. "They're about relationships and the struggle to see two sides as a whole and not something that ends with muting and conflict. The songs here are about old loves, country, family. They are about feelings and identity." And all of that inevitably brings up many questions. El Wahab keeps reinventing himself: even his career has been an act of self-invention. Unable to read music, he still managed to talk his way into the Andalusian Orchestra, playing cello by ear until he learned music theory. And instruments he uses on his albums, like the blue gallon (actually a jug) or the kubana (named after a type of Yemeni bread) are also self-invented. These handmade, one-of-a-kind instruments sit at the heart of Mute. He's always made music from the items others discard. Everything recycled and reused, nothing wasted.

$28.00 IN STOCK

LP version. Mute is an album that explores distance, speech -- and the lack of it. It's a series of musings on people, places -- and leaving. The record began life with the core of El Khat -- multi-instrumentalist el Wahab, percussionist Lotan Yaish, and organist Yefet Hasan -- recording in an isolated village underground shelter. "My state of mind at the time affected the compositions even before I wrote the music," el Wahab notes, "and the isolated location gave us a chance to make sense of that." Following those sessions, in the summer of 2023 the group emigrated to Berlin; a far cry from Jaffa, where they'd largely grown up. The move was an expression of the nomadic urge that has been a constant in el Wahab's life, one that flows directly into his work. "These songs are about emigrating, leaving someone or somewhere. I don't think I've stayed in any one place for more than a year. For us Arab Jews whose families were forced to leave Yemen, it really began with that big move and our families' arrival in Israel, a land with a constant muting of the 'other'." Mute, he feels, is "a big and meaningful record." It's a story of endings and new beginnings. "But that's true of all our albums" el Wahab insists. "They're about relationships and the struggle to see two sides as a whole and not something that ends with muting and conflict. The songs here are about old loves, country, family. They are about feelings and identity." And all of that inevitably brings up many questions. El Wahab keeps reinventing himself: even his career has been an act of self-invention. Unable to read music, he still managed to talk his way into the Andalusian Orchestra, playing cello by ear until he learned music theory. And instruments he uses on his albums, like the blue gallon (actually a jug) or the kubana (named after a type of Yemeni bread) are also self-invented. These handmade, one-of-a-kind instruments sit at the heart of Mute. He's always made music from the items others discard. Everything recycled and reused, nothing wasted.

$15.50 IN STOCK

This album title translates as "One more chance to succeed in life." Not that they need it. The trio of guitarist Eblis Alvarez, bassist Mario Galeano, and drummer Pedro Ojeda has been successfully carving out a wildly idiosyncratic musical world since the release of their debut album in 2010, pushing the boundaries of instrumental Latin tropical music with bold infusions of psychedelia, dub, minimalism and more. But their journey started a long time before that. All three attended the same high school and have been playing together for three decades, since they were around 15 years old. "We started with punk and heavy metal," Ojeda recalls. "Then we were very interested in Colombian tropical music and traditional music from Colombia and Latin America, and that led us to focus on African music. It's been a long road." Along the way, the unfettered, spontaneous improvisation of jazz has been a crucial touchstone. "When we started playing in an improvised setting, we were very influenced by free jazz from the '60s," says Ojeda. "But now we are more into making music for the dance floor and music that has a beat and a strong feeling to dance to -- especially in this latest album." The music on Una Oportunidad stems from the venerable tradition of the groove-based jam session. "All of the tunes 100% come from improvisation sessions," says Galeano. "With this album," Ojeda elaborates, "we went to the studio in the morning every day for a week. Each of us would bring one or two ideas and we would start jamming, experimenting with those ideas. By lunchtime, we had one or two pieces based on those ideas and then, after lunch, we would record them. By the end of the week, we had the eight tracks that are on the record." Recording for the first time in the relaxed surroundings of Galeano's studio, with Alvarez once again mixing and producing, Una Oportunidad luxuriates in a relaxed intimacy. And, more than any other album they've released so far, it captures the immediacy of a live performance, with no overdubs or studio magic, just raw, in-the-moment invention.

$28.00 LOW STOCK LEVEL

LP version. This album title translates as "One more chance to succeed in life." Not that they need it. The trio of guitarist Eblis Alvarez, bassist Mario Galeano, and drummer Pedro Ojeda has been successfully carving out a wildly idiosyncratic musical world since the release of their debut album in 2010, pushing the boundaries of instrumental Latin tropical music with bold infusions of psychedelia, dub, minimalism and more. But their journey started a long time before that. All three attended the same high school and have been playing together for three decades, since they were around 15 years old. "We started with punk and heavy metal," Ojeda recalls. "Then we were very interested in Colombian tropical music and traditional music from Colombia and Latin America, and that led us to focus on African music. It's been a long road." Along the way, the unfettered, spontaneous improvisation of jazz has been a crucial touchstone. "When we started playing in an improvised setting, we were very influenced by free jazz from the '60s," says Ojeda. "But now we are more into making music for the dance floor and music that has a beat and a strong feeling to dance to -- especially in this latest album." The music on Una Oportunidad stems from the venerable tradition of the groove-based jam session. "All of the tunes 100% come from improvisation sessions," says Galeano. "With this album," Ojeda elaborates, "we went to the studio in the morning every day for a week. Each of us would bring one or two ideas and we would start jamming, experimenting with those ideas. By lunchtime, we had one or two pieces based on those ideas and then, after lunch, we would record them. By the end of the week, we had the eight tracks that are on the record." Recording for the first time in the relaxed surroundings of Galeano's studio, with Alvarez once again mixing and producing, Una Oportunidad luxuriates in a relaxed intimacy. And, more than any other album they've released so far, it captures the immediacy of a live performance, with no overdubs or studio magic, just raw, in-the-moment invention.

$15.50 IN STOCK

Hailing from Cyprus's divided capital Nicosia, and led by Antonis Antoniou, the founder of Monsieur Doumani and Trio Tekke, Buzz' Ayaz creates a transfixing Eastern Mediterranean psychedelia. Their self-titled debut album is a fuzzed-out urban soundscape of dubby electronics, '70s-psych organ, growling bass clarinet, amplified folk instruments, ritual beats and Greek and Anatolian melodicism. The band members come from both sides of the capital's divide, and the music found on Buzz' Ayaz is a deliberate attempt to give a voice to the city as a whole. A mercurial sound that echoes above the concrete walls and checkpoints. Cyprus is a holiday destination for people from all over Europe, a sunny, blue-sea island in the Eastern Mediterranean with a proud, ancient history. But it's also a divided island, with longstanding political tensions between the Greek and Turkish Cypriot populations. Yet, inevitably in a small place, the two cultures intertwine. Walk the streets of Nicosia, the divided capital, and you'll hear Greek rembetiko alongside Turkish pop, Anatolian psychedelia next to Western rock. That urban mix of sounds he heard each day put a spark in Antonis Antoniou's head. With his new band, Buzz' Ayaz, that spark has caught fire, making Cypriot music that strides between decades and continents, electric and organic. The results on their eponymous debut album holds a barely contained wildness -- and a bass clarinet. Buzz' Ayaz carries a big sound, a punchy heaviness that draws from ʼ60s and ʼ70s rock, but stirring it up with all the differing sounds of Cyprus that Antoniou has known all his life. The recording captures the energy of Buzz' Ayaz, with all the rawness and sweat of performance, coated with urban grit. But there's far more to this than power; Buzz' Ayaz prickles with intelligence, invention and imagination. Buzz' Ayaz is the electric sound of modern Cyprus, the musical bridge that spans worlds. It's music that keeps Antoniou's blood racing, the sound in his head coming to life. The roots of Buzz' Ayaz are in Cyprus, Greece, Turkey and throughout the Levant, but they meld together on the streets of Nicosia. "I hope," Antoniou says, "that the reach is infinite."

$15.50 IN STOCK

Another Mississippi Sunday Morning is the poignant sequel to Some Mississippi Sunday Morning (2023), the prison-recorded gospel album that was met with unexpected global acclaim by the likes of the New York Times, The Guardian, the New Yorker, and BBC (just to name a few). In early 2024, Grammy-winning producer Ian Brennan (Tinariwen, Ustad Saami, Ramblin' Jack Elliott, The Good Ones [Rwanda]) returned to the Parchman Farm maximum security facility in Mississippi to record a second collection of raw, haunting performances from the prison's Sunday gospel service. The results are once again captivating and unforgettable. Twelve men participated in the new recording session, ranging in age from 23 to 74. Three are serving life sentences and six of them were newer arrivals or not on the debut album. There were no guards or chaplains present this time. Like the first album, all songs were first takes, recorded 100% live and without overdubs. The session took four hours, twice the length of time Brennan was allotted for Some Mississippi Sunday Morning. This time the singers knew what to expect and some came to the session with pre-prepared material. "Certain people who were involved the first time became very prominent this time," Brennan says. "They were also more motivated to write their own songs, so a lot of them had done that in advance. A couple of those from before were really eager to do song after song. Everybody sang at least one song." Though all of the music is intimate and stripped back, each song and performance, whether it is based on traditional gospel or hip hop or the deep blues, has an individual and powerful story to tell.

"From a cappella and delicately inflected tenor ornamentation to a hypnotic basso profundo chant; from an urgent rap about a singer's remorse to a hopeful choral outburst: this is inspirational music, triumphant rather than beaten down and defeated." --BBC Music

$28.00 IN STOCK

LP version. Hailing from Cyprus's divided capital Nicosia, and led by Antonis Antoniou, the founder of Monsieur Doumani and Trio Tekke, Buzz' Ayaz creates a transfixing Eastern Mediterranean psychedelia. Their self-titled debut album is a fuzzed-out urban soundscape of dubby electronics, '70s-psych organ, growling bass clarinet, amplified folk instruments, ritual beats and Greek and Anatolian melodicism. The band members come from both sides of the capital's divide, and the music found on Buzz' Ayaz is a deliberate attempt to give a voice to the city as a whole. A mercurial sound that echoes above the concrete walls and checkpoints. Cyprus is a holiday destination for people from all over Europe, a sunny, blue-sea island in the Eastern Mediterranean with a proud, ancient history. But it's also a divided island, with longstanding political tensions between the Greek and Turkish Cypriot populations. Yet, inevitably in a small place, the two cultures intertwine. Walk the streets of Nicosia, the divided capital, and you'll hear Greek rembetiko alongside Turkish pop, Anatolian psychedelia next to Western rock. That urban mix of sounds he heard each day put a spark in Antonis Antoniou's head. With his new band, Buzz' Ayaz, that spark has caught fire, making Cypriot music that strides between decades and continents, electric and organic. The results on their eponymous debut album holds a barely contained wildness -- and a bass clarinet. Buzz' Ayaz carries a big sound, a punchy heaviness that draws from ʼ60s and ʼ70s rock, but stirring it up with all the differing sounds of Cyprus that Antoniou has known all his life. The recording captures the energy of Buzz' Ayaz, with all the rawness and sweat of performance, coated with urban grit. But there's far more to this than power; Buzz' Ayaz prickles with intelligence, invention and imagination. Buzz' Ayaz is the electric sound of modern Cyprus, the musical bridge that spans worlds. It's music that keeps Antoniou's blood racing, the sound in his head coming to life. The roots of Buzz' Ayaz are in Cyprus, Greece, Turkey and throughout the Levant, but they meld together on the streets of Nicosia. "I hope," Antoniou says, "that the reach is infinite."

$28.00 IN STOCK

LP version. Folk music emerging from Dublin seems to be everywhere at the moment -- demonstrated most clearly by Lankum gaining a host of "Album of the Year" nods at the end of 2023 -- but it would be a mistake to call this a movement, much less any kind of revival. While Lankum, John Francis Flynn, Ye Vagabonds, Lisa O'Neill et al might be new to a lot of audiences, these artists have been exploring and expanding what folk music can be for years, decades even. And this is just as true of Landless, the quartet who've been singing together since 2013, finding each other through the traditional singing scene in the city and, crucially, the Sacred Harp singing community. Working once again with John "Spud" Murphy (the Lankum producer and ØXN member), Lúireach sees the quartet adding sparingly-used instrumentation -- Ruth's aching pump organ on "Death & The Lady," Méabh's shruti box on "Ej Husari," Lankum's Cormac MacDiarmada on fiddle, viola and banjo throughout, even some mournful trombone from Alex Borwick on "The Newry Highwayman." The songs for the album were gathered over a number of years, Ruth explains, and while the melody and lyrics are paramount, there is a common theme for many of the inclusions. Lúireach is an album of quiet power, soaked in tradition but finding new and exciting ways to present these remarkable songs, songs that are full of melancholy, love, death and mystery. Lúireach rewards your close attention.

$15.50 IN STOCK

Folk music emerging from Dublin seems to be everywhere at the moment -- demonstrated most clearly by Lankum gaining a host of "Album of the Year" nods at the end of 2023 -- but it would be a mistake to call this a movement, much less any kind of revival. While Lankum, John Francis Flynn, Ye Vagabonds, Lisa O'Neill et al might be new to a lot of audiences, these artists have been exploring and expanding what folk music can be for years, decades even. And this is just as true of Landless, the quartet who've been singing together since 2013, finding each other through the traditional singing scene in the city and, crucially, the Sacred Harp singing community. Working once again with John "Spud" Murphy (the Lankum producer and ØXN member), Lúireach sees the quartet adding sparingly-used instrumentation -- Ruth's aching pump organ on "Death & The Lady," Méabh's shruti box on "Ej Husari," Lankum's Cormac MacDiarmada on fiddle, viola and banjo throughout, even some mournful trombone from Alex Borwick on "The Newry Highwayman." The songs for the album were gathered over a number of years, Ruth explains, and while the melody and lyrics are paramount, there is a common theme for many of the inclusions. Lúireach is an album of quiet power, soaked in tradition but finding new and exciting ways to present these remarkable songs, songs that are full of melancholy, love, death and mystery. Lúireach rewards your close attention.

$28.00 IN STOCK

LP version. This self-titled second album from Gordan, the acclaimed transnational (Serbia/Germany/Austria) experimental trio, fuses traditional Balkan vocalizations with feedback, electronic sound generators, pulsing bass and hypnotic drumming. Gordan mirrors the mysticism of legends and stories from the Balkan region, creating a music that stretches between expressiveness and abstraction; tradition and the avant-garde. The visceral vocals of Svetlana Spajic (Marina Abramovic, Lenhart Tapes, Antony and the Johnsons) are both rooted and deeply interpretive. In turn, drummer Andi Stecher (STECHER, Billy Bultheel, Orchestre Les Mangelepa), and Guido Möbius on bass and electronics, employ sonic strategies that steer the songs in inspired and unpredictable directions. Gordan makes music that lies between expressiveness and abstraction. Their pieces are not limited by rigid formal structures. Instead, they are open processes that create a loss of sense of time. Reduced arrangements and expressive vocals combine to form a powerful musical whole. This band creates something new from minimalism, intensity and the rich singing tradition of the Balkans. When Down in the Meadow, the first album by Gordan was released by Morphine Records in October 2021, it was celebrated by critics and audiences alike. Now the trio presents its second, even more radical record. Drummer Andi Stecher forgoes any ornamentation and at the same time plays varied and concentrated. Confident and with outstanding technique, he is the engine of the band's sound. His stylistic flexibility demonstrates a profound knowledge of global music history. Guido Möbius plays bass guitar and various electronic sound generators. He also provokes feedback using a guitar amplifier, microphone and effects. These sometimes spherical, sometimes very concrete sounds interact with Svetlana Spajic's voice. Vocals and feedback circle each other in fleeting, ever-changing harmony.

"Gripping, like something ancient being born" --The Wire

"The connection between folk and improvised music, between traditional song and electric noise has been tried in recent years, but rarely as intensively and interestingly." --Rolling Stone (DE)

$15.50 IN STOCK

This self-titled second album from Gordan, the acclaimed transnational (Serbia/Germany/Austria) experimental trio, fuses traditional Balkan vocalizations with feedback, electronic sound generators, pulsing bass and hypnotic drumming. Gordan mirrors the mysticism of legends and stories from the Balkan region, creating a music that stretches between expressiveness and abstraction; tradition and the avant-garde. The visceral vocals of Svetlana Spajic (Marina Abramovic, Lenhart Tapes, Antony and the Johnsons) are both rooted and deeply interpretive. In turn, drummer Andi Stecher (STECHER, Billy Bultheel, Orchestre Les Mangelepa), and Guido Möbius on bass and electronics, employ sonic strategies that steer the songs in inspired and unpredictable directions. Gordan makes music that lies between expressiveness and abstraction. Their pieces are not limited by rigid formal structures. Instead, they are open processes that create a loss of sense of time. Reduced arrangements and expressive vocals combine to form a powerful musical whole. This band creates something new from minimalism, intensity and the rich singing tradition of the Balkans. When Down in the Meadow, the first album by Gordan was released by Morphine Records in October 2021, it was celebrated by critics and audiences alike. Now the trio presents its second, even more radical record. Drummer Andi Stecher forgoes any ornamentation and at the same time plays varied and concentrated. Confident and with outstanding technique, he is the engine of the band's sound. His stylistic flexibility demonstrates a profound knowledge of global music history. Guido Möbius plays bass guitar and various electronic sound generators. He also provokes feedback using a guitar amplifier, microphone and effects. These sometimes spherical, sometimes very concrete sounds interact with Svetlana Spajic's voice. Vocals and feedback circle each other in fleeting, ever-changing harmony.

"Gripping, like something ancient being born" --The Wire

"The connection between folk and improvised music, between traditional song and electric noise has been tried in recent years, but rarely as intensively and interestingly." --Rolling Stone (DE)

$28.00 IN STOCK

LP version. Sahrawi singer-songwriter activist Aziza Brahim's fifth album Mawja ("wave" in Hassaniya Arabic) is fashioned from a simple but powerful foundational palette: Saharan and Iberian percussion entwining with stately guitars and warm, enveloping bass. Co-produced by Brahim with long-time collaborator Guillem Aguilar, the record from her oeuvre that Mawja most sonically resembles is her revered and graceful debut Soutak (GB 009LP, 2014). That noted, there is a confident eclecticism found here, an expansive take on her vision that even includes a drum pattern inspired by the Clash. Brahim's voice, as always, is a wellspring of deep and resonant emotions. The yearning for homeland. The struggle for freedom. The love for one's elders. The unfurling of time. Waves of history, waves of sound. Mawja.

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Glitterbeat Presents Ana Lua Caiano's Vou Ficar Neste Quadrado. Ana Lua Caiano's debut album melds rural Portuguese music traditions with layered vocals, synthesizers, insistent beats and field recordings. Her music is visceral and tightly focused pulling from a rich mosaic of influences that includes traditional group singing, musique concrete, songwriters from Portugal's '70s revolutionary period and electronic icons like Bjork and Laurie Anderson. Hailing from Lisbon's fertile musical underground, Caiano's music -- and its international reception -- are moving forward quickly. Her lauded recent performances at Eurosonic and Transmusicales certainly attest to that, as do the laser sharp emotions and highly individual sonics of her much anticipated first album: Vou Ficar Neste Quadrado ("I Shall Stay in This Square"). It's electronic music. Utterly contemporary. Pulsing, glitchy, atmospheric and beat driven but with roots deep in the traditional Portuguese music her parents listened to when she was a child. "They had a lot of cassettes that they'd play," she recalls. "I loved to mimic and I'd imitate the singers. I took it in by osmosis, I suppose, and the elements are still there in what I do." Since she began her sonic experiments during lockdown, Caiano has been relentlessly pushing the borders of her music. It is of course a process that already began when she first imitated traditional singers or took her first piano lesson. It is a process that's led her to the road she's on now, one where tradition and electronics walk side by side. "I think it's quite experimental," she says, affirming that her music emphasizes the restless and evolutionary. "I believe traditional music evolves with the world -- nowadays you can make traditional music with a computer or talk about themes that weren't relevant or didn't exist in the past. Traditional music is always evolving." Travelling forward fast and sure, Ana Lua Caiano is definitely not stuck in a square. Featuring Essence Voices.