Folk 385 Items

First time these tracks appear on vinyl – Pressed on 180 Gram Black Vinyl
Recorded by Brion Gysin & Paul Bowles in Morocco 1965
Limited Edition of 300 Copies

Until Now, Jilala has been a much sought-after phantom in relation to their better-known musical and spiritual contemporaries, The Master Musicians of Jajouka. Culled from three and a half hours of 1965 recordings by writers/artists/poets Brion Gysin and Paul Bowles, the first batch of Jilala recordings were released on a 1965 LP that was scarce even upon its initial release. The second batch of recordings, which this LP has drawn from, came in the form of a CD by Baraka Foundation in 1998, which is also now long out of print.

The Jilala brotherhood -- like the better-known Jajouka culture -- has pre-Islamic roots in Sufi mysticism that span across northern Africa from Morocco to India. Jilala shares the kinds of small, portable instruments historically favored by nomadic cultures. Even among the more ardent aficionados of “world music” these recordings have seldom been heard.

In the original liner notes Ira Cohen provides a breakdown of the Jilala ensemble: 'The instruments used are the shebaba, a long transversal cane flute, which leads the way; the bendir, a handheld drum resembling a tambourine without cymbals; and the karkabat which is a double castanet made of metal. On this record, there are usually three flutes, six drums and one pair of castanets.' In conjunction with the qraqaba - an iron analog to the wooden castanets featured heavily in the Flamenco music of the Roma people that also flourished over the centuries mere miles to the north in southern Spain.

These bendir drums provide a range very similar to that covered in contemporary popular music by the bass drum, snare, and cymbals that make up a standard drum kit. The Trance-inducing grooves were major influences on such bands as Led Zeppelin, Agitation Free, Can and the Rolling Stones. The collective rhythms are often reminiscent of early hip-hop.

Lp Ltd Edition Gold Vinyl (500 Copies) + Bonus Fire Records Compilation Cd. Brigid Mae Power Paints Expansive Songs That Are Effortless, Hypnotic And Folk-Oriented Like Judee Sill, Bill Callahan And Sharon Van Etten. The Third Album From The Celebrated Singer/Songwriter, 'Head Above The Water' Is A Coming Of Age Opus Featuring A Ground-Breaking Amalgamation Of Traditional Folk And Country - An Engaging Blend Of Strings, Bouzouki, Piano And Power's Distinctive Vocal Make This An Achingly Beautiful Body Of Work. Recorded In Analogue Studio The Green Door In Glasgow With Alasdair Roberts Co-Producing Alongside Brigid And Peter Broderick. It's A Continuing Tale Of Everyday Survival; More Diverse, Different, A Bigger Canvas, With Broader Brushstrokes_ Country And Traditional Folk Rub Shoulders, Making For A Juxtaposition Of Threads, With Added Instrumentation From Five Musicians Lured Into The Studio To Provide Larger Dynamics. 'Head Above The Water' Continues In That Vein Becoming More Ethereal, More Personal And Even More Alluring. After Two Lauded Albums For Tompkins Square, Brigid Mae Power Released Her New Album On 5th June Via Fire Records. Now Available On Ltd Edition Gold Vinyl. "Power Meditates On The Dichotomy That's Always Existed In Her Work, Melding Atmospheric Bliss And Stark Desperation." Pitchfork "Power Invokes The Elements, Either In Contrast To Internal Weather Or In Sympathy With It." The Guardian. "Haunting And Haunted" (The Line Of Best Fit) // "Stunning" ???? Pitchfork // "A Triumph" ????½ Uncut // "Remarkable" ???? Mojo // "Extraordinary" Sunday Times // "Ethereal" The Guardian // "Power At Her Finest" ???? The Line Of Best Fit // "Enthralling" The Metro // ???? Financial Times // ????? Hi Fi Choice // ???? The Guardian // ???? Irish Times // ???? Record Collector // ???? Music Omh //

'The Extra Ordinary' EP is the debut release from London based musician, composer, producer and singer Emilee. Also known as Moggli, Emilee boasts a vast back catalogue collaborating with the likes of Maya Jane Coles, Andrea Oliva, Shlomi Aber and Marc Romboy. This release welcomes five dreamy originals packaged alongside a pairing of club focused remixes courtesy of Maya Jane Coles and Andrade & Sam Clarence.
Maya Jane Coles fully digests the original work before totally revamping 'Rodeo' in a truly unique way as warming rich chords billow around a chugging masterpiece of house rhythms. Andrade & Sam Clarence continue the dreamlike state with Memory Land, once again taking the ethereal voices from Emilee and pairing with a rich, punchy bass line.
DJ support : Carl Craid, Rone, Joris Voorn, Joyce Muniz, Shlomi Aber, Fred P
Remixes Premiere confirmed with: Mixmag - DJ Mag spain and LA- Verzila - Upfront Beats - Moskalus
Premieres wise, Mixmag are running MJC on 25th
Radios : BBC Radio 1 show - MJC remix plays on Friday 15th Jan. Rinse FM - Pat from Slothboogie to play MJC remix on his Rinse FM show Monday. 11th Jan.
Good reviews: DJ Mag Spain supported with a news piece: https://djmag.es/the-extra-ordinary-es-el-ep-debut-de-la-productora-londinense-emilee/
Upfrontbeats supported with a review:https://upfrontbeats.com/track/emilee-the-extra-ordinary-remixes-ft-maya-jane-coles-andrade-sam-clarence
Dubkiks https://dubiks.com/2021/01/06/emilee-debuts-with-remixes-from-maya-janes-coles-and-andrade-sam-clarence/

About a hundred kilometers south-west of Bamako, on the left bank of the Niger River, the Malian village of Kela is known to be home to a large community of griot musicians (jeliw) mostly belonging to the Diabaté family. Their art is recognised throughout West Africa and many griots come from all over the world to stay there, sometimes for several years, in the hope of becoming immersed in it. The six pieces for voice accompanied by guitar or traditional koni lutes were recorded in 1978 (tracks 3 to 6) and in 2019 (tracks 1 to 3), in the same traditional dwelling, which still serves as a “studio". The accompanying booklet contains the testimonies of several important musicians who took part in the recording, and evoke key elements of their universe Points of interests - For the fans of the traditional repertoires of Mali’s famous griot musicians. - For music lovers who love the voices accompanied by the guitar and the traditional lutes of the griots.

Not many cities in the world are gifted with a timeless anthem of their own. We all know “New York, New York”, a song widely known across its city borders. For many Vietnamese, the beautiful Cha Cha Cha tune “Sài Gòn” has a similar reputation. The tune was written by Hanoi-born composer Y-Van. Like many of his generation, he moved to the South in 1954 after The Geneva Accords partitioned Vietnam temporarily into two states. There he became one of the most famous and prolifc songwriters in South Vietnamese pop music. His revered songs are still sung and covered to this day. “Sài Gòn”, which he wrote in 1965, was recorded for the frst time by Saigonese-born singer Trúc Mai for the Sóng Nhạc label. It is one of his most iconic compositions and has been recorded countless times since. Trúc Mai rose to prominence during the late 1950s as a popular headliner in the cabaret circuit of Saigon, earning her the title, "Nữ Hoàng Mambo" (the Queen of the Mambo). Her reputation helped make the 1965 recording of “Sai Gon” an instant hit. It was so successful that it was one of only a few songs to appear on multiple 7” vinyl releases. However, that same year, Trúc Mai took a seven-year hiatus from the music industry to take care of her family. But she returned in 1972 to record “Sai Gon” again, this time with another producer, Duy Khánh – also a successful singer and musician. They released this track on his “reel 2 reel” tape series, “Cỏ May”. After the war ended in 1975, Trúc Mai and her family left Vietnam to begin their new lives in the United States, where she continued her successful music career with the overseas community.The Sài Gòn sung about in the song refers geographically to today's Districts 1 & 3 in Ho Chi Minh City, the name given in 1975, after reunifcation. But colloquially, the city is still afectionately called Sài Gòn by many of its residents, and even the airport retains the ‘sgn’ designation as its abbreviation. Despite being recorded over 55 years ago, the unbroken popularity of this life-afrming ode to the city is proven when, whether in Sài Gòn or Hanoi; the south or north; whether young or old, when the song plays, everyone immediately joins in to sing along to the chorus…Saigon đẹp lắm Saigon ơi! Saigon ơi! (Saigon is so beautiful! Saigon oi! Saigon oi!) The two extensively restored mixes are supplemented with a 2021 edit by Saigon Supersound producer and DJ Jan Hagenkötter, who tries to preserve the vibes of the original and at the same time to wrap it in a contemporary garment.

Amsterdam’s Altın Gün have built a strong reputation for melding past and present to make brilliantly catchy, psychedelic pop music, as seen with their Grammy-nominated second album, Gece. They are also a renowned live band with strings of sold-out shows on three continents, who have consistently brought a muscular groove to their recordings.Yol, their third album in as many years, excitedly continues these trends; while also digging in deep to unveil a new palette of sonic surprises. Though it draws from the rich and incredibly diverse traditions of Anatolian and Turkish folk music,Yol is not just a record that reframes traditional sounds for a contemporary audience. The album often presents a textured, avant-pop sound as evidenced by the debut single "Ordunun Dereleri.” Mysterious and atmospheric, the track is a thrilling evolution for the band. It patiently coaxes the listener into a resonant soundworld of down-tempo electro beats, majestic synths and Erdinç Ecevit's yearning vocal of unrequited love. The album also signals a very different approach in making and recording for the band. Singer Merve Dasdemir takes up the story: “We were basically stuck at home for three months making home demos, with everybody adding their parts. The transnational feeling maybe comes from that process of swapping demos over the internet, some of the music we did in the studio, but lockdown meant we had to follow a different approach.”

With Yol, Altın Gün have maybe patented their own magical process of reimagining and sonic path-finding, one probably not heard since the late 1960s and early 1970s British folk- rock boom. Less of a reworking than a seduction, their recordings transport the listener to a world where the original songs never previously inhabited. Merve Dasdemir again: “After we worked on them, they got a whole new life of their own. Maybe we went a little bit too far (laughs).”