Folk 360 Items

Second compilation by Habibi Funk, following the success of the first part, featuring a wide range of music from North Africa and the Middle East.

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).”

JAUBI continue the Nafs journey, which commenced with the single “Satanic Nafs” (featuring the remix by legendary LA producers The Gaslamp Killer & Mophono) released in March 2021. Now JAUBI draw on the elements of North Indian classical music, Hip-Hop and modal/spiritual jazz in their debut LP entitled “Nafs At Peace”.

The journey officially began back in April 2019 when London’s multi- instrumentalist and 22a Record label boss Ed “Tenderlonious” Cawthorne and Polish pianist/composer Marek “Latarnik” Pędziwiatr of EABS/Błoto, visited the group to record in Lahore.

Together they channelled their personal struggles at that time into the two recording sessions allowing the musicians to find a spiritual path to transcendence through this musical purge.

Nothing whatsoever was written down during the recording sessions - no sheet music and no song titles, which allowed the six musicians to forget about their worldly issues. In many ways, the journey represents a struggle for purity, an expression of gratitude, and an acknowledgement that the musician's inspiration comes from a higher power.

The album cover portrays the mother of JAUBI’s bandleader, tearfully praying to God to get her son through that dark period of his life, which is what the mothers of the other musicians also did for their children.
The first step of the journey can be heard on “Satanic Nafs” which refers to the lowest level of the Self which was released 26th March 2021 through Astigmatic Records.

The album title ‘Nafs At Peace’ refers to the last purification step the self has been through. At this level, the Self no longer struggles because one has complete love of God, by becoming at peace and tranquil with God’s will. We hope all can achieve the stage of “Nafs At Peace” … Inshallah.

Another colorway of this fantastic record.

“Nothing ever really disappears,” Cassandra Jenkins says. “It just changes shape.” Over the past few years, she’s seen relationships altered, travelled three continents, wandered through museums and parks, and recorded free-associative guided tours of her New York haunts. Her observations capture the humanity and nature around her, as well as thought patterns, memories, and attempts to be present while dealing with pain and loss. With a singular voice, Jenkins siphons these ideas into the ambient folk of her new album. An Overview on Phenomenal Nature honors flux, detail, and moments of intimacy. Jenkins arrived at engineer Josh Kaufman’s studio with ideas rather than full songs—nevertheless, they finished the album in a week. Jenkins’ voice floats amid sensuous chamber pop arrangements and raw-edged drums, ferrying the listener through impressionistic portraits of friends and strangers. Her lyrics unfold magical worlds, introducing one to a cast of characters, like a local fisherman, a psychic at a birthday party, and a driving instructor of a spiritual bent. Jenkins’ last record, 2017’s Play Till You Win, confirmed the veteran artist’s talent. Evident of Jenkins’ experience growing up in a family band in New York City, the album showcased her meticulous songwriting and musicianship, earning her comparisons to George Harrison and Emmylou Harris. Jenkins has since played in the bands of Eleanor Friedberger, Craig Finn, and Lola Kirke, and rehearsed to tour with Purple Mountains last August before the tour’s cancellation. Her new record departs from her previous work in its openness and flexibility, following her peripatetic lifestyle. “The goal is to be more fluid, to be more like the clouds shifting constantly,” she says. The approach allowed Jenkins to express herself like she never has.

Limited to 300 copies on red vinyl.

Ironhand Records is proud to announce the EP of Mustafa Kuş & İmece, musically at the crossroads of funk, jazz, and psychedelic, with Anatolian rhythms.
Mustafa Kuş, who went to Germany for his education and founded his band İmece in 1976, released three albums and one single until 1985.
Compiled from those, the 4 songs in this EP blend Anatolian rhythms with funk and jazz, entertaining bass lines, crazy drum attacks, saxophone, and keyboard solos.
Remastered from the original master tapes, limited to 300 copies exclusive for hhv.de on red vinyl. You will hear the idol of today’s many popular bands!

"Beautiful melange of folk, jazz and sound from Lebanon. Recorded in late 1970s Beirut by Rogér Fakhr who at the time also played guitar for Ziad Rahbani and Fairouz.“

Rogér Fakhr is a musician from Lebanon. He recorded these songs in the late 1970s in Beirut (and some during a brief exile in Paris). Some were circulated on hand copied cassettes among friends, others like "Had To Come Back Wet" were never released. His music effortlessly combines folk with touches of jazz and soul. He wrote, composed and arranged all songs. While working on his own music he also played for Ziad Rahbani, Fairouz and other musicians.

When we first heard Roger's music we were blown away! The music was a mixture of folk with touches of other genres. Maybe one could also refer to it as “singer-songwriter”, since all of the songs were Roger’s own compositions. Songs of unique beauty both musically as well as lyrically. At the same time they gave me the feeling of them being somehow time and space isolated capsules. Nothing really revealed, where they could’ve been recorded and without knowing it was Beirut, my first guess maybe would have rather been California, sometime in the 1970s. The immersive effect of his compositions and voice are just incredible. I was stunned and proposed Roger to work on a re-release, which he politely declined, saying he had no interest in this music being reissued.

The vinyl version comes with a 8 page booklet and a DL code.

Today, Natalie Bergman announces the release of Mercy, her debut solo album out May 7 on Third Man Records. Self-produced, performed and mixed in near-solitude, the twelve-song set takes a spellbinding step into Bergman’s singular world of sound, spirituality and the search for hope during tragic times. The journey began in October 2019; until then, she had been on tour since the age of 14. She spent the better part of the past decade singing lead alongside her brother Elliot Bergman in their duo Wild Belle, but the night she was about to hit the stage at Radio City Music Hall, her life changed. A coroner called with news that their father and stepmother had been killed by a drunk driver.

Music and faith have always been at the forefront of the Bergman family, and rather than crawl into a cave of darkness and dread, Natalie decided to spend many days in silence at a monastery in the Chama Valley. It was there she learned she would embark on

Mercy, and as she began writing and recording, the collection of songs channeled her cathartic reverence for traditional gospel music - in her words, the true source of rock and roll.

Includes five unreleased songs, three early demo recordings and two Robin Guthrie covers.

Bongo Joe presents "Club Coco", a summary outernational latin and afro rooted music compilation curated by Coco María.

The Blind Date Party hosted by Bill Callahan and Bonnie ‘Prince’ Billy and featuring Azita, Matt Sweeney, Alasdair Roberts, Matt Kinsey, Sean O’Hagan, Bill MacKay, George Xylouris, Dead Rider, David Pajo, Mick Turner, Meg Baird, Ty Segall, Emmett Kelly, Cory Hanson, Six Organs of Admittance, David Grubbs, Cassie Berman, Cooper Crain and Sir Richard Bishop happened online in the fall and winter of ’20–’21 — but the party planning dated back to the spring of 2020. Stuck at home, with no gigs in the foreseeable future, Bill, Bonnie and Drag City needed an outreach program to keep themselves busy, not to mention sane. In the absence of any company or anything on the calendar, playing songs they loved was an idea; playing with people they loved, the desire. And making it fun — so pairing someone with someone else having no say in the matter, the essence of the blind date, was the plan. Favorite songs were chose; players from around the Drag City galaxy were messaged. Pretty soon, songs were flying back and forth — music in the air! And thus, they were entertained throughout the summer of 2020, when so much else in the world seemed so completely wrong. By the fall, the songs started to appear online: Bill and Bonnie singing a song by someone they loved and admired; each song cut by another another artist they loved and admired, then sent to Bill and Bonny to provide the finishing touches. The spotlight pointed in every direction each week: toward the singers and writers who’d originally played the songs (Yusuf Islam, Hank Williams Jr., Dave Rich, The Other Years, Billie Eilish, Steely Dan, Lou Reed, Bill Callahan, Jerry Jeff Walker, Robert Wyatt, Lowell George, Johnnie Frierson, Air Supply, Will Oldham, Leonard Cohen, David Berman, Iggy Pop and John Prine), toward their featured collaborators, the artists whose artwork adorned each digital single and videos made by still more collaborators. And you, the listener. Like the best parties, it turned out to be everything and more than they’d even hoped for. So many more people were involved in the process that we can get on the page here. Suffice to say, making records over the years has required a broad sense of community and an always-surprising mix of independence and unity, inspiration and utility. Some of our best memories are those where as many of our folks as possible were together in one place at one time. In those moments, it was just a great thing just to be there. And with others looking in . . . this was a joy one could only be infinitely lucky to feel and to take for granted, as well. The Blind Date Party was one of these, maybe the most improbable one yet. It’s for everyone who’s here and it’s in the name of everyone who’s gone but will never go and will always live with us here. This album will too. And thus, we are entertained.

Kupa 4 (Kupa Dörtlüsü) was a band formed of Greek and Turkish musicians who lived in a mutual culture in İstanbul (or Constantinople). Their roots connected to rebetiko and laiko, but they were also children of the revolution. Therefore while playing in a tradition of a laiko band, they also had influences from beat and surf. Groovy drumming, Killer Farfisa, and bouzouki-like electric guitar sounds are the key elements in Kupa 4's soundscape.

The band rocked the taverns in Turkey and attracted both minorities' and Turks' attention until the Cyprus crisis in 1974. In this compilation, you will be hearing the recordings of Kupa 4, where they performed a unique laiko beat/surf style made in Turkey. Plus, in 2 tracks, you will listen to the band performing as an influential Anatolian Rock band.

Presented with a liner notes, archieve photos and a great re-mastered sound.