Kuunatic is a thrilling Tokyo based tribal-psych trio bolstered by diverse global sonics and powerful female vocals. Drawing on the members’ different musical and cultural perspectives, their music explores ritual drumming, pulsing bass lines, atmospheric keyboard sounds and Japanese traditional instruments.
- Monsieur Doumani
- BLK JKS
BLK JKS are a seminal force in the South African underground. Monster grooves meet guitar and brass driven afro-rock. Echoes of spiritual jazz, post-apocalyptic funk, renegade dub and kwaito. Features Malian guitarist Vieux Farka Touré and Beastie Boys accomplice Money Mark on the track “Maiga.”
Sun-baked instrumental meditations played on local string and percussion instruments. Yearning vocals and songs that evoke the mystifying realities of everyday life. Recorded live and outdoors on Grande Comore island by acclaimed producer, Ian Brennan (Tinariwen, Ustad Saami, Zomba Prison Project).
Liraz, the highly touted Israeli-Persian singer, returns with a buoyant and border-busting new album. Shimmering electro-pop meets pulsing dance rhythms and retro Persian sonics. Includes clandestine collaborations with Iran-based musicians and composers. The result is her private revolution, songs with a true message, music to make people dance and smile – and above all, think.
Firmly established as an influential voice in the burgeoning Russian DIY rock scene, Lucidvox’s incendiary mixture of atmospheric psych-rock, heavy riffs and Russian folk mystery has already gained them both critical attention and audience loyalty outside of their hometown of Moscow. We Are (мы есть) is their first international album release and the next element in their rapid rise.
The first-ever reissue of the classic 1981 debut album from this much revered Ghanaian band. Vibrantly produced by British sound explorer Brian Eno in Accra, Ghana. Highlife meets afro-funk. Spirited and horn driven. Yet another inspired morphing of soundworlds and processes and a significant touchstone for both artists.
- Lina_Raul Refree
Fado rewired and recast. Raül Refree – one of Europe’s most innovative producers (Rosalía, Sonic Youth’s Lee Ranaldo) – meets Lina, a Portuguese singer renowned for her haunting interpretations of Amalia’s classic repertoire. Analog synths and hushed sonics. Making history by breaking the rules. Lina_Raül Refree is fado for today, a sound that goes beyond geography. It sheds the old skin for the new yet still leaves it as Portugal’s soul, it’s great, beautiful cry of emotion.
- Los Pirañas
A celebrated instrumental supergroup featuring three of Bogotá’s most visionary musicians: Eblis Alvarez (Meridian Brothers, Chúpame el dedo), Mario Galeano (Frente Cumbiero, Ondatropica) and Pedro Ojeda (Romperayo, Chúpame el dedo). Fusing the experimental possibilities of South American rhythms and sonics (cumbia, champeta, tropicalia, salsa & more) with avant psych rock, dub minimalism and spiked jazz, Los Pirañas are retro-futurism at its finest.
- Trupa Trupa
Poland’s hotly tipped psych/experimental rock quartet delivers a potent, galvanizing album. Trupa Trupa has grown inordinately in both confidence and execution during the last half-decade. Almost every song on Of The Sun—the magnetic fifth album from the Polish quartet — lands like an anthem, with barbed hooks driven by an italicized rhythm section and a chimera of crisscrossing harmonies.
- Bantou Mentale
A dark, thundering Kinshasa meets Paris soundworld. Ecstatic vocals, broken beats, subterranean bass and full-throttle energy. This four-piece group of sonic groundbreakers have delivered a scintillating debut album. The fulfillment of their long-held dream to create an African band with the weight and sensory attack of knife-edged rock and hot-wired club beats. Features ex-members of Konono No.1, Mbongwana Star & Staff Benda Bilili. Produced by Doctor L (Tony Allen, Mbongwana Star).
- Ustad Saami
Following his 2019, critically acclaimed debut, God Is Not a Terrorist, 49-note scale microtonal vocal master Ustad Saami returns with an epic part two. Pakistan is for the Peaceful presents an even more immersive work, comprised of just three extended tracks and again produced 100% live at the master’s rooftop home in Karachi by Grammy-winner, Ian Brennan (Tinariwen, Zomba Prison Project, The Good Ones) with musical accompaniment provided by Ustad’s four sons.
- Kel Assouf
On the heels of their acclaimed album Tikounen, Kel Assouf return with an even more transformative collection: Black Tenere. Produced by the band’s keyboardist Sofyann Ben Youssef, the mastermind behind the highly touted AMMAR 808, the new album strips things back to a power trio lineup and focuses on the crackling, forward-looking energy of Nigerien front man Anana Ag Haroun’s next level Kel Tamashek (Tuareg) rock songs.
- Altin Gun
Following their hotly tipped 2018 debut album “On” – Altın Gün returns with an exhilarating second album. “Gece” firmly establishes the band as essential interpreters of the Anatolian rock and folk legacy and as a leading voice in the emergent global psych-rock scene. Electric, filled with funk-like grooves and explosive psychedelic textures, what they play – by their own estimation – is folk music.
This legendary group from Leeds, have written contemporary music history for the last 40 years as radical innovators of both first generation punk and insurgent roots music. Their new album was recorded in the desert environs of Joshua Tree, California and is drenched with widescreen, barbed-wire atmosphere and hard-earned (but ever amused) defiance. The return of one of the planet’s most essential rock & roll bands.
- Abatwa (The Pygmy)
The Abatwa (“pygmy”) tribe is identified as one of the most marginalized, voiceless and endangered populations in Africa. In fact, their name is frequently taken in vain as a generalized slur towards others unrelated to them. In fact, their name is frequently taken in vain as a generalized slur towards others unrelated to them. The album ‘Why Did We Stop Growing Tall?’ is full of rough-hewn, tribal sonics from the Rwandan borderlands.
- Afro-Haitian Experimental Orchestra
Spearheaded by the legendary Afrobeat/Fela Kuti drummer Tony Allen, the Afro-Haitian Experimental Orchestra rose out of Allen’s 2014 visit to Haiti where he collaborated with some of the countries most notable singers and percussionists. Analog synthesizers and raw psychedelic guitars join the mix yielding an unheard and unholy mixture of Haitian voodoo rhythms, afrobeat drumming and Krautrock experimentation.
- AMMAR 808
Ranging from trance temple sounds to rap-like street theatre performance and ending with the mathematical richness of Carnatic music, Ben Youssef’s in situ recordings form the foundation of his potent new album: Global Control / Invisible Invasion. Futurist syncopations meet hypnotic, timeless narratives. Expansive electronics fused with on location recordings. Kaleidoscopic and exhilarating.
- Aziza Brahim
Aziza Brahim (1976) was born and raised in the Saharawi refugee camps in the Tindouf region of Algeria where her family settled in late 1975, after fleeing from the Moroccan occupation of Western Sahara. Growing up in the severe conditions of these desert camps, Aziza discovered music was both a source of entertainment and a natural way to express and communicate her personal emotions and thoughts of resistance.
- Aminata Wassidjé Traoré
- Baba Zula
Formed by Osman Murat Ertel and Levent Akman in 1996, Baba Zula took Turkish psychedelic pioneers of the 1960s as their inspiration and foundation for what they called Istanbul psychedelia, the fathers of a scene that’s since grown up around them. Baba Zula have played all over the world, won awards for their work in film and theatre, and had their albums counted among the most prestigious ever released in Turkey.
- Bassekou Kouyate & Ngoni Ba
Bassekou Kouyaté & Ngoni Ba has revolutionized the sound and narrative possibilities of the ngoni, the lute-like instrument that is essential to Mali’s Griot culture. Griots are esteemed musician/storytellers whose lineage stretches back centuries. Through Bassekou’s invention of repertoire built around the melodies and rhythms of four interlocking ngonis, Bassekou has demonstrated his respect for the past by radically pulling it into the future.
- Bargou 08
Lying between the mountains of northwest Tunisia and the Algerian border, the Bargou valley has developed its own culture that had never been documented until Nidhal Yahyaoui began the task. Born in the valley, he was determined that the music and traditions shouldn’t slip away into obscurity. With Targ, the album he’s made with his band Bargou 08, Yahyaoui has perfectly fused the past and the present to place Bargou on the map.
- Ben Zabo
Much of the Malian music that has been released on European and American labels in the last few years shares one thing: it is mostly down tempo and reflective. The kora majesty of Toumani Diabate, the Songhi blues of the late Ali Farka Toure, the singer-songwriter tropes of Rokia Traore and the dusted, acoustic meditations of Tinariwen (on their most recent album) are a demonstration of this point. Even the later albums of the once exuberant Salif Keita have grown more melancholy and ethereal.
- Bixiga 70
São Paulo’s acclaimed 10-piece instrumental collective return for their 4th album. Urban Afro-Brazilian grooves, empowered horn-driven melodicism and massive dance floor inspiration. One of South America’s most exhilarating musical propositions. The new album captures the incendiary excitement of Bixiga 70 live, but the freedom of the studio brings more shade and subtlety than before.
- Black Mango
A mysterious two-song release, licensed directly from a group of Bamako musicians who, with the exception of the Souku master Zoumana Tereta, choose to remain anonymous. In the last years, the political turmoil in Mali has caused many of the cities clubs to shutdown and dried up other sources of musician income like weddings and festivals. The situation continues to be desperate, but the music remains a powerful force: both a refuge and a medicine.
In late 2004, Bombino recorded acoustic versions of nine songs in the Ténéré desert, which became this, his first real album. He sings and plays several of his own compositions and also pays tribute to other Tuareg artists (Abdallah Oumbadougou, Hasso, Kedou). Recorded mostly around the campfire, his assembled friends join in on handclaps and undulations.
- Chimurenga Renaissance
This Seattle-based duo made up of Tendai Maraire and Hussein Kalonji (in Shona “Chimurenga” means revolutionary struggle). Tendai is one-half of the visionary hip-hop group Shabazz Palaces and has family roots in Zimbabwe, while guitarist Hussein partly grew up in the Congo. The music they create is timely and explosive: otherworldly hip-hop meets Shona rhythms, Congolese guitar ambiance and political resistance.
- Damir Imamović’s Sevdah Takht
Sarajevo born and raised, Damir Imamović has been steeped in the sounds of sevdah since childhood. Much has been said of his stellar family tradition – both his father and grandfather remain legends of the form. Since those early days, however, when he would ward off boredom during the siege of the city in the early 1990s by learning guitar chords in his basement shelter, Imamović has completely changed the rules of the game.
- Dennis Bovell
Originally a straight-talking, mainly acoustic trio mining blues and country for 21st century gold, the band’s first happy accident was to stumble upon Tamikrest, then Samba Touré and Ben Zabo among many others. Dirtmusic now return with a full-scale collaboration with Turkish-psych visionary Murat Ertel from Baba Zula.
- El Leopardo
- Every Song Has Its End: Sonic Dispatches From Traditional Mali
An out-of-time, visceral collection of songs & sounds from Bamako-based producer Paul Chandler’s unparalleled archive. These high fidelity field recordings and eleven accompanying videos (from all corners of the country) take us deep inside the full sonic power of the Malian musical experience.
The London-based quintet Fofoulah (meaning “it’s there” in Wolof) was formed in 2011 and features Tom Challenger (Red Snapper) on saxophone and keyboards, Phil Stevenson (Iness Mezel) on guitar, Johnny Brierley (Outhouse Ruhabi) on bass, Dave Smith (Robert Plant’s Sensational Space Shifters) on drums, and Kaw Secka (Irok) on Sabar drums.
- Gaye Su Akyol
Gaye Su Akyol is at the forefront of the new Istanbul scene. Her influences range from the Turkish chanteuse Selda Bağcan to Nick Cave, surf bands and psychedelia. In Gaye Su Akyol’s universe, the past becomes folded into the present and launched into the future. Hologram Ĭmparatorluğu is heady, powerfully intoxicating and beautifully dangerous. Gorgeous, cinematic and subversive. Past, present, future. Her music, her art.
- Glitterbeat: Dubs & Versions I
Our first remix album with ten genre-spinning, mind-bending sonic reinventions of the Glitterbeat catalog. Remixers include: UK dub-master Dennis Bovell (Linton Kwesi Johnson, The Slits, Fela Kuti), Berlin legend Mark Ernestus (Jeri Jeri, Rhythm & Sound), Warp recording artist Nozinja (Shangaan Electro) and post-punk legend Mark Stewart (Pop Group, New Age Steppers). Vibrant future sounds.
- Hanoi Masters
“Hanoi Masters: War is a Wound, Peace is Scar” is a haunting audio document recorded in the summer of 2014 by Grammy-award winning producer Ian Brennan (Tinariwen, Malawi Mouse Boys, The Good Ones). The sepia-tinged songs are sung and played live and direct by elderly Vietnamese musicians using half-forgotten traditional instruments. These musicians all have deep personal connections to the upheavals of the Vietnam War and the album’s mesmerizing mood navigates the blurred line between raw beauty and sadness.
- Hayvanlar Alemi
Formed by three school friends in the Turkish capital of Ankara in 1999, Hayvanlar Alemi have established themselves at the vanguard of global psychedelic sound. Interfacing with the golden age of Turkish psychedelic rock, surf music, Cambodian pop, West African guitar motifs, Middle Eastern traditional music and the knife edge of indie rock, it was clear from the beginning that Hayvanlar Alemi was an instrumental rock band for the unfolding millennium.
- Ifriqiyya Electrique
Ifriqiyya Electrique was formed in the Djerid Desert in southern Tunisia, home to the Banga ritual of Sidi Marzûq. The Banga is a key annual event in the lives of the black communities of the oasis towns of southern Tunisia, descendants of the Hausa slaves transported from sub-Saharan Africa. It is a ritual of adorcism not of exorcism: of accommodating the possessing spirit rather than expelling it.
- Jupiter & Okwess
With their second album Kin Sonic, Jupiter and Okwess transcend the Congo’s unexplored musical heritage and dive into a pool of modernity. We’re invited to savour his latest recipe, the Okwess (‘food’ in the Kibunda language) which is the fruit of all the encounters and influences he has absorbed during his many journeys around the world. It’s a recipe based on perfect alchemy. Featuring Damon Albarn, Warren Ellis and Robert del Naja, aka ‘3D’.
- Khmer Rouge Survivors
Grammy-winning producer Ian Brennan (Zomba Prison Project, Tinariwen, Hanoi Masters) went to Southeast Asia to record unheralded, traditional-based musicians from Cambodia, all of whom are survivors of the genocidal Khmer Rouge regime. The result is heartbreaking, inspiring and sublime.
- King Ayisoba
Born in Bolgatanga in rural Ghana, King Ayisoba was a prodigy on the kologo, playing locally until he’d outgrown the possibilities of the area. Moving to Accra, the country’s biggest city, he eventually released the song “I Want To See You, My Father.” There was nothing modern about it. No hiplife rap, no electronic beats. But somehow it conquered the country and brought the tradition firmly into the mainstream.
- Lobi Traore
Lobi Traoré (1961-2010) was a true African original, a guitarist of profound depth and originality, a singer and songwriter with universal appeal, and a performer who became part of the very fabric of Bamako, one of the world’s most musical cities. We are lucky to worked with the man. The recordings we made together captures the pure essence of his artistry in full flower.
- M.A.K.U. Soundsystem
Think and dance. A way forward delivered with the urgency that’s become a hallmark of M.A.K.U. Soundsystem. The new album Mezcla captures the live sound of the band, that thrilling rawness where the rough edges become a vital part of the whole, plenty of freedom but with the tightness honed by night after night of gigs. And that’s exactly how Mezcla came together.
- Noura Mint Seymali
Noura Mint Seymali hails from a Moorish musical dynasty in Mauritania, born into a prominent family of griot and choosing from an early age to embrace the artform that is its lifeblood. Yet traditional pedigree has proven but a stepping-stone for the work Noura and her band have embarked upon in recent years, simultaneously popularizing and reimagining Moorish music on the global stage.
- Orkesta Mendoza
Border music without borders. Sergio Mendoza (a longtime member of Calexico) grew up on both sides of the US/Mexican frontier. On the band’s 3rd album, “Curandero,” his musical melding of that experience explodes from the speakers. Boogaloo, cumbia, ranchera & rock’n’roll. Curandero has a close, intimate feel, but this wasn’t a band playing together in a room; all the musicians came in separately to track their parts.
- Sacri Cuori
A kaleidoscopic road trip through imaginary 60’s soundtrack music and post-folk sounds from Italy and beyond. This innovative Italian band decimates genres. While the album is mostly instrumental, there are also songs voiced in Italian, English and French. Guitar pioneer Marc Ribot makes an appearance as does Sonido Gallo Negro, Evan Lurie from the Lounge Lizards, drummer Steve Shelley (Sonic Youth) and Giant Sand’s Howe Gelb.
- Samba Touré
When Malian singer and guitarist Samba Touré was planning Wande (The Beloved), his third Glitterbeat release, he had strong ideas for the way it should sound. But once the sessions were over, he knew he had something entirely different, something even more satisfying: a collection of songs where warmth filled the grooves of every song. An album that seemed like home.
Glitterbeat is proud to announce the release of “At Least Wave Your Handkerchief At Me: The Joys and Sorrows of Southern Albanian Song” by Saz’iso, a group of virtuoso musicians and legendary singers assembled by veteran producer Joe Boyd (Pink Floyd, Nick Drake, Cubanismo, Songhai) and his co-producers, Edit Pula and Andrea Goertler, and recorded by Grammy-winning engineer Jerry Boys (Buena Vista Social Club, Ali Farka Touré, Orchestra Baobab).
- Sonido Gallo Negro
Sonido Gallo Negro (Black Rooster Sound) is a combo of nine musicians, seeking out a new and unexpected musical cosmos that goes beyond their well-honed Mexican and Latin American influences. Their navigational charts point towards an additional synchronicity of sound and imagination with the Middle East, the Hispanic old world and Africa, as embedded within the Americas.
- Stella Chiweshe
„I am a rebel,“ smiles the 70-year-old Stella Chiweshe. Her album „Kasahwa: Early Singles“ offers a fascinating introduction to the world of Mbira, with the term not only referring to the instrument, consisting of 22 to 28 metal keys mounted on a wooden healing tree body, but also to a musical genre – and on a much wider level, to an entire culture and deeply spiritual lifestyle, very much at the core of the young Zimbabwean nation.
There’s a raw beauty in Tamikrest’s rock’n’roll. It’s there in the driving, insistent groove that powers the songs, the lean, snaking bass lines and the guitars that twine and twist around the melodies, and the utterly natural musical blending of Sahel Africa, the Maghreb, and the West – a reflection of influences as diverse as Pink Floyd, Rachid Taha, and flamenco. Yet the Sahara, and the people who live there, is always firmly at its heart.
TootArd grew up understanding that borders are something imposed by governments, lines that only exist on a map. On a disc, in concert, they can go wherever their imagination carries them. They carry their citizenship inside. They are not ‘undefined’; they’ve fashioned their own identity in their music, creating a bond of the stateless that reaches from the Levant to the Tuareg – another people without a real home – and reaches out far beyond.
- Mark Ernestuts Meets Ben Zabo