{"title":"WORLD","description":"","products":[{"product_id":"dr-death-original-series-soundtrack","title":"Atticus Ross, Leopold Ross, Nick Chuba  -  Dr. Death (Original Series Soundtrack)","description":"\u003cp\u003e\u003cstrong\u003eReleased: 06\/05\/22\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDr Death\u003c\/em\u003eaired on the Peacock streaming service and is based on the podcast of the same name about real life neurosurgeon Dr. Christopher Duntsch (played by Joshua Jackson), whose patients tended to end up maimed or dead. The miniseries also stars Alec Baldwin, Christian Slater and AnnaSophia Robb.\u003c\/p\u003e\n\u003cp\u003eOur approach to the score was based in imprecision, informs Leopold Ross. 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Here the sounds of nearby Mali and Guinea had fused with local styles, giving birth to a rich musical scene: bands such as Bembeya Jazz, Super Djata Band and other Mandingue giants were among the best- sellers of the region, and record dealers had once imported them in great quantities from distributors in Abidjan or Cotonou, the cities where most local artists had their LPs manufactured.\u003c\/p\u003e\n\u003cp\u003e Within a week, I was able to find most of Leon Keita's output ... and listening to his tunes in this part of the world was as natural as breathing the mild Saharan air at dawn! A fixture on the Malian music scene, Leon Keita was born in Conakry on the Atlantic coast of Guinea in 1947. After completing his studies he found his way to the Malian capital where, in addition to founding the Piano Jazz Orchestra, he worked as a teacher, organiser of cultural festivals, and accountant for the National Tobacco and Match company. 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Known as Piano-ye Sonnati, this technique allowed Mahjubi to express the unique ornamental and monophonic nature of Persian classical music on this western instrument - mimicking the tar, setar \u0026amp; santur and extracting sounds from the piano which are still unprecedented to this day.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAn active performer and composer from a young age, Mahjubi made his most notable mark as key contributor and soloist for the Golha (Flowers of Persian Song and Poetry) radio programmes. 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Swooning orchestrations and prominent vocals capture some of the melodrama and bombast found in US and European music of the time, but beds of plucked and strummed instruments give an ordered elegance, tying it firmly to Hogaku tradition. Not much has been written about RyÅ«kōka, and a 2017 book by Hiromu Nagahara gives some clue as to why, arguing that although popular with the public, it was dismissed by critics both for its adoption of western sounds and its dwelling on Japanese traditional styles. Close to a century later, those are some of the qualities that make this compilation so fascinating.\" - The Quietus\u003c\/p\u003e","brand":"Death Is Not The End","offers":[{"title":"LP","offer_id":53388523995522,"sku":"DHR-02603","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0556\/2800\/5583\/files\/5bcd9cea0eda68f4ae14fa5dd1ceda01.jpg?v=1731533605"},{"product_id":"serginho-meriti-bons-momentos","title":"Serginho Meriti  -  Bons Momentos","description":"\u003cp\u003eInspired equally by the soul and funk of the Black Rio movement and the samba rock innovations of Jorge Ben, Serginho Meriti’s classic debut album presents one of the best - if least known - examples of funky Brazilian soul.\u003cbr\u003e180g heavy vinyl,,\u003c\/p\u003e\n\u003cp\u003eBrazil’s Black Rio movement had a lasting impact on the country’s marginalised black youth. Inspired by the African-American Civil Rights Movement and the revolutionary, politically conscious soul and funk being produced by the likes of James Brown, Curtis Mayfield, Gil Scott Heron, Billy Paul and Nina Simone, a new scene began to incubate in Rio’s poor and oft-neglected North Zone - one which put black culture front and centre. At bailes funk (funk balls) revellers\u003cbr\u003eproudly sported afros and danced to their own beat while artists such as Banda Black Rio, Trio Ternura, Tim Maia and Emilio Santiago subverted officially-sanctioned Brazilian styles by fusing elements of imported soul, funk and jazz with samba rhythms to create a new form of music they could call their own.\u003c\/p\u003e\n\u003cp\u003eSérginho Meriti was one of many young artists caught up in the excitement of the movement. Born Sérgio Roberto Serafim and raised in the north Rio suburb of Meriti (from which he’d take his stage name), he began his career with Black Rio funk\/soul outfit Copa 7, for whom he penned the stridently funky dance floor hit Som Da Copa 7.\u003c\/p\u003e\n\u003cp\u003eSnapped up by Polydor at the turn of the 80s, Bons Mementos was his first work as a solo artist. It’s the work of a young musician brimming with musical ideas and creating a new take the Black Rio sound - one he would refer to variously as Meritiense (the sound of Meriti) or as Electric Samba. The title track is perhaps the perfect distillation of his ideas, mixing Black Rio’s funky bass and guitar lines with a healthy dose of the samba rock style developed by Jorge Ben, a pinch of eighties synths, and some of the best call-and-response female vocals this side of Fela Kuti. 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Launched in the late 1960s in Benghazi, Libya, Astuanat al-Bourini اسطوانات البوريني (Bourini Records) published some 40 to 50 titles from 1968 to 1975. Bourini released 7-inch 45 RPM singles by 15 artists, all but one of them Egyptian, igniting brief careers for Alexandrian singer Sheikh Amin Abdel Qader and the blind Bedouin legend Abu Bakr Abdel Aziz (aka Abu Abab). The tracks compiled here comprise a full range of styles covered by the label, while highlighting some of its most gobsmacking moments, from Basis Rahouma’s beastly transformation into a growling and barking man-lion by the end of “Yana Alla Nafsa Masouda,” to Reem Kamal’s hopeful-if-bitter handclapping party pivot “Baed Al Yas Yjini,” which descends into an almost Velvet Underground outro-groove of nihilistic dissonance. All the tracks on this compilation were laid down in stark divergence from the mainstream Egyptian popular music topography of heightened emotions buoyed by lush arrangements. The contrast is most evident in Mahmoud al-Sandidi’s “Ana Mish Hafwatak,” wherein his voice weaves heavily but deftly through a constant accordion drone, and Abu Abab’s “Al Bint al Libya,” a sparse, slow- burning lament with minimal percussion, violin, and Abab’s nephew Hamed Abdel Muna'im Mursi on lyre. Whereas the Egyptian mainstream was aspirational, attempting to reflect Egyptian culture at its most refined, the performances captured by Bourini were manifestations of everyday life lived by the mostly otherwise ignored masses. More than half century old, this music has lost none of its urgency, presence, or relevance. 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It follows last year’s Daughter Of A Temple, Gilles Peterson’s BBC 6 Music Album of the Year, similarly declared one of 2024’s Top 10 Best Global Albums by The Guardian, who applauded Ganavya’s ability to harness “the power of communal harmony to touch something deeper than song.” Co-produced by Nils Frahm at Leiter Studio in Berlin’s Funkhaus complex, the new album by “the singer whose work,” says the New York Times, “feels like prayer…with listeners hanging onto her every word” will be released by Leiter on vinyl and via all digital platforms.\u003cbr\u003e\u003cbr\u003eListening to the remarkable Nilam, it seems implausible now that its inception might ever have been in doubt. So astonishing is its stillness, so profound its communication of sentiment, it feels as if it was always meant to be. A celebration of the ties that bind, and possibly the most tender-hearted music we’ll hear this year, it’s intimate and honest, a poignant expression of gratitude for the blessings which keep us grounded, if only we’ll recognise and welcome them. Indeed, it could have been transmitted directly from soul to stereo, from the way ‘Not A Burden’ lifts a weight off the world’s shoulders to the peaceful ‘Sees Fire’, with ‘Land’’s gentle groove full of space, ‘Nine Jeweled Prayer’ serenely precious, and, throughout, Ganavya’s vocals like ripples on a lagoon.\u003cbr\u003e\u003cbr\u003eYet the truth is it owes its existence to chance – an entity, like truth, to which Ganavya is forever faithful – and the few days between her 2024 Berlin sold out debut and another sold out performance at London’s Union Chapel. This opportunity, she was persuaded by Leiter's co-founder Felix Grimm, could be exploited to capture at last songs she had often performed live. 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His two albums on Funk Night Records and DeepMatter Records, had both been highlights of their respective years.\u003cbr\u003e\u003cbr\u003eWe'd gotten to know Oscar and sent him a few records. Included in the package was Australian pianist- composer Finn Rees' debut album, Dawn Is A Melody, which was one of our favourite releases on Mr Bongo in 2024. In Oscar's words 'For me it was a standout modern jazz record - encapsulating a spiritual \/ hazy dreamy soundscape which hugely resonated with me. Glissando keys and harp with lush melodies, I was instantly intrigued.\" The pair started following each other online and as luck would have it, Finn was staying in London for the summer season, so they arranged to meet.\u003cbr\u003e\u003cbr\u003eThe pair instantly clicked and said it felt like they'd known each other for years. After 40 minutes of chatting, they started to jam. 'Love In Memory' and 'Bluebell' were recorded over two days - a track a day in Oscar's SFJ studios. 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Pairing Indian classical ragas with then-state-of-the-art Roland synthesizers and drum machines, Singh created an electronic masterpiece that was far ahead of its time.\u003cbr\u003eRecording live at Mumbai’s HMV studios, Singh married the past to the future—blending the ancient Indian tradition of ragas (a melodic framework, similar to a scale, from which musicians can improvise or compose) with pulsating, electronic dance beats. Released without fanfare, it faded into obscurity and Singh retired from recording to focus on private concerts, but that’s where the story begins…\u003cbr\u003eReleased in cooperation with Singh’s estate, Synthesizing: Ten Ragas to a Disco Beat arrives on June 26th. The 10-track album was remastered by Johanz Westerman at Ballyhoo Studio Mastering and stretched across 2-LPs for the highest quality listening experience. The vinyl was pressed at Optimal Media and housed in a gatefold jacket that replicates the original artwork.\u003cbr\u003eAn accompanying 16-page LP booklet features previously-unreleased photos and two new essays: the first from Arshia Fatima Haq and Jeremy Loudenback of Discostan—a multimedia collective and record label focusing on music from South West Asia and North Africa—while the other comes from filmmaker and writer Rana Ghose of event and film production entity REProduce Artists, who managed Singh in his final years and documented his triumphant return to the stage. Additionally, fans can find a limited-edition pressing of Synthesizing: Ten Ragas to a Disco Beat on ‘Pearlescent Transcendent Future’ Color Wax, while the album will also be reissued on CD with a 32-page booklet containing all of the above.\u003cbr\u003eMore on Synthesizing: Ten Ragas to a Disco Beat:\u003cbr\u003eIndian multi-instrumentalist and composer Charanjit Singh (1940–2015) never intended to be an electronic dance music pioneer when he recorded 1982’s Synthesizing: Ten Ragas to a Disco Beat. Yet three decades later, his inventive use of state-of-the-art synthesizers and drum machines would prompt some to crown him the “Godfather of Acid House.” The real story, however, runs much deeper.\u003cbr\u003eA native of Mumbai, Singh spent much of his career as a Bollywood session musician, collaborating with renowned composers like RD Burman and Shankar–Jaikishan, and appearing on some of the most iconic Hindi film hits of the ‘60s and ‘70s. Outside of the film industry, Singh recorded several of his own albums and toured the world alongside the era’s biggest stars—an opportunity which allowed him to collect new instruments, including synthesizers and other electronic devices. As psychedelia and disco wove their way into Bollywood scores, Singh was at the forefront, integrating a host of electronic textures into his work (his hypnotic Transicord introduction on “Dum Maro Dum” from 1971’s Hare Rama Hare Krishna is among his most recognizable performances).\u003cbr\u003eBy the turn of the ‘80s, however, Singh was disenchanted by the creative limitations of session work and embarked on a solo career. Not long after, on tour in Singapore, he discovered three Roland devices that had just hit the market: the TR-808 drum machine (released 1980), the TB-303 bass synthesizer (released 1981), and the Jupiter 8 synthesizer (released 1981). While this trio would fuel early electronic dance music in the coming years, Singh was among the first known artists to pair them on record when he was inspired to create his next album, Synthesizing: Ten Ragas to a Disco Beat.\u003cbr\u003eUsing only the three devices and recording live at Mumbai’s HMV studios, Singh married the past to the future—blending the ancient Indian tradition of ragas (a melodic framework, similar to a scale, from which musicians can improvise or compose) with pulsating, electronic dance beats, while programming the TB-303 to follow classical Hindustani scales. From the hypnotic drones of “Raga Bhairavi” to the uplifting jams of “Raga Bairagi” the album proved perhaps to be a bit too visionary for its time. Released without fanfare, it faded into obscurity and Singh retired from recording to focus on private concerts.\u003cbr\u003eTwo decades later, Dutch DJ and record collector Edo Bouman was in New Delhi when he came across an old copy of Ten Ragas. Bouman was astounded by what he heard—electronic music that had all the hallmarks of acid house, recorded five years before Chicago DJs coined the term. Bouman spent the next few years tracking down Singh and, in 2010, reissued the album on his label, Bombay Connection.\u003cbr\u003eSoon, Ten Ragas became a viral sensation, sparking disbelief and debates about the origins of acid house. But, as Haq and Loudenback explain, those in the conversation “Had little frame of reference for [Singh’s] music outside of the parameters of western club music.” Viewed through the lens of the Hindi film industry, they argue, the album’s through-line comes into focus. In the ‘60s, when Western artists were looking to India for inspiration, Bollywood was “A laboratory for discovering sounds, and for harnessing every new technology that could be found or repurposed…. Singh’s album is more fittingly placed within the framework of the expansion of Bollywood’s experiments in disco, rather than that of acid house.”\u003cbr\u003e“Perhaps this is yet another example of how a public engages with those who are ahead of their time,” adds Rana Ghose. “This record is a direct consequence of a centuries-old classical music form, rendered through the lens of a visionary who used the vanguard of technology at the time to recast it, resulting in an artefact that, almost 40 years later, is finding entirely new audiences in an era marked by a changing and uncertain global landscape of soft-power assertion. Considering this reassessment is as exciting as it is fascinating. Much like this record.”\u003cbr\u003eWhile Ten Ragas sparked plenty of conversations within the electronic music community, it also gave a bemused Singh a surge of newfound fame during the final years of his life, allowing him to play to thousands of fans at packed club shows and festivals in Europe, the U.S., and India. Among those fans are Australian duo Glass Beams (who covered “Raga Bhairav”), German electronic duo Modeselektor, and Thom Yorke, who ranked “Raga Lalit” as one of his “6 Tracks You Need to Hear” via the BBC.\u003cbr\u003eMost importantly, however, Ten Ragas resonated deeply with South Asian artists, who saw electronic music from India being recognized with new reverence. In the words of Vish Matre (of the UK DJ duo Dar Disku), “This record will be remembered for, not being the predecessor to another genre, but being a precursor to a lot of new music from the diaspora that relied on it as inspiration.”\u003cbr\u003eTracks: Raga: Bhairavi; Raga: Lalit; Raga: Bhupali; Raga: Todi; Raga: Madhuvanti; Raga: Meghmalhar ; Raga: Yaman; Raga: Kalavati; Raga: Malkauns; Raga: Bairagi\u003c\/p\u003e","brand":"Light In The Attic","offers":[{"title":"Pearlescent Transcendent Future LP","offer_id":56288258720130,"sku":"DHR-05465","price":54.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0556\/2800\/5583\/files\/d29ef71a854fd501af7b2e3be66b9745.webp?v=1769713862"},{"product_id":"mdou-moctar-ilana-the-creator","title":"Mdou Moctar  -  Ilana (The Creator)","description":"\u003cp\u003eIlana (The Creator) marked a decisive shift for Mdou Moctar, capturing the Nigerien guitarist in full flight with a live rock band for the first time. 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