Review: Antal has already been dropping the worldly beats on this EP which is a fine stamp of approval for DJ and collector Elado. This marks his debut on the label having won plenty of fans for his offering on Eddie C's cult Red Motorbike. The music take its cues from all over the planet - Africa, India and the Middle East - and brims with disco joy, funk richness and plenty of earthly soul. 'Big Baba' is a classy party starter with good time feels, 'Gulab Jamun' is a foreign language acid laced love song and 'Blame' is synth heavy disco funk.
Review: Mahal by Glass Beams melds a diverse array of influences into a unique and enchanting soundscape. The Melbourne-based trio, shrouded in mystery with their mask-wearing anonymity, lets their music speak volumes. Built around founding member Ranjan Silva, their sound draws from the rich heritage of Ravi Shankar, Bollywood, Electric Light Orchestra, and traditional blues.Inspired by repeated viewings of 'The Concert For George', Silva's vision for Glass Beams seems to echo the fusion George Harrison envisioned when introducing classical Indian music to Western pop. The EP opens with 'Horizon,' setting a serene tone before leading into the title track 'Mahal,' an instrumental piece that envelops the listener in its mystical charm. 'Orb' follows with a riveting bass riff, while 'Snake Oil' delves deeper into Indian classical territory, showcasing evocative vocals. The EP concludes with 'Black Sand,' a dramatic and beautiful track featuring interwoven vocals and guitar. As their second EP, following Mirage, Mahal solidifies Glass Beams' distinct place in music, defying categorisation and quietly demanding attention with its almost otherworldly quality.
Tu Tak Tu Tak Tutiyan (Elado's Gulab Jamun rework) (4:10)
Tu Tak Tu Tak Tutiyan (Elado's 4 AM mix) (4:48)
Review: Elado Gulab Jamun did a fantastic job with his edit of this Bollywood gem to the extent that it has become a real dancefloor gem that's been much loved all around the world for the last two years. Now it makes its way to a 7" vinyl pressing and is backed with his 4am mix of the same tune. This one is a sublime and dubbed out, acid tinged electronic trip that comes with original CD artwork that pays great tribute to original artist Nadim Khan. Another tasteful outing from Razor-N-Tape for this fresh edit.
Review: North East producer and DJ Anish Kumar has put together a brilliant selection of Bollywood-inspired tunes here that collide house-and-disco into exciting new forms. The boldly but correctly entitled Bollywood Super Hits! collections starts with the exotic house depths of 'Asha' with its whimsical vocals and melodies, then 'Sadhana' layers bubbling bass funk with percussive invention and 'Nazia' is all big disco drum funk and archetypal Bollywood vocals. 'Ananda' gets sunny with a fantastic flute lead and medley of string sounds and 'Lata' is a heads-down Bollywood techno roller.
The Jets Orkhestra - "X-290" (Turbotito & Ragz remix) (5:45)
Fantasy Nite Club - "O My Baby" (5:19)
Deepak Khazanchi - "Bass Fire (On & On)" (feat Asha Puthli - Turbotito & Ragz remix) (5:31)
Review: Naya Beat Volume 2: South Asian Dance And Electronic Music 1988-1994 dives deep into finding rare tracks that showcase an overlooked chapter of South Asian sound. This collection highlights a unique period between 1988 and 1994, when vibrant cultural fusion emerged within diasporic communities in cities like New York and London. Following the success of Volume 1, which celebrated early 80s Balearic and synth pop, this second installment unveils a blend of house, street soul and downtempo gems, many of which have remained hidden until now. Tracks like The Jets Orkhestra's energetic 'X-290' and the soothing tones of Asha Bhosle's West India Company provide a glimpse into this rich sonic landscape. Other highlights include Lady M's enchanting 'Kali Raat' and the mesmerising sound of Mantra's self-titled track. This double LP serves as a vital resource for music enthusiasts, complete with beautiful artwork and in-depth liner notes. Compiled by Naya Beat's founders, Filip Nikolic and Raghav Mani, the release has been expertly cut for vinyl by Grammy-nominated Frank Merritt, ensuring a high-quality listening experience for collectors and DJs alike.
Review: Indian fusion band Shakti were formed all the way back in 1974, and after a disbanding and long hiatus in the fallout, they made a comeback in 2020 with This Moment. Despite the time passed, the original lineup of John McLaughlin (guitar), Zakir Hussain (tabla), L. Shankar (violin), and T.H. Vinayakram (ghatam), came together once more after a whopping 40 years. The album, now reissued by Abstract Logix, provides the most modern take yet on their craft, blending elements of experimental, jazz, rock, classical, and Indian music into a unique and mesmerizing sound.
Review: In a limited edition closing statement, sitarist and musician Anoushka Shankar (daughter of Ravi Shankar) marks the culmination of an ambitious trilogy of mini-albums. This final chapter follows Chapter I: Forever, For Now (2023) and the Grammy-nominated Chapter II: How Dark It Is Before Dawn (2024). While the previous installments drew inspiration from Berlin and California, respectively, Chapter III is deeply influenced by Shankar's Indian heritage, reflecting a return to her roots; it hears collaborations with London multi-instrumentalist Sarathy Korwar as well as San Francisco-based sarod player Alam Khan, blending traditional Indian sounds with contemporary sound design and productive elements. Star cuts such as 'Hiraeth' intertwine the soulful resonances of sitar and sarod with dynamic percussion, titularly borrowing from the Welsh language term for a deep longing or homesickness. The record coincides with a global tour set afoot by the musician in March 2025, starting in North America and concluding in India later in the year.
Review: Black Truffle presents a formerly unheard live album by rudra veena master Ustad Zia Mohiuddin Dagar, recorded in the North Indian city of Vrindavan at the Druhpad Samaroh festival in 1982. Dagar was a nineteenth-generation descendant of the musical Dagar family, famed for their meditative approach to the tradition of Hindustani court music. The rudra veena is a large and low-pitched string instrument amplified by two huge, hollowed-out gourds, and Dagar became the first modern dhrupad musician to perform with it as an instrumental soloist. True to form, in this recording of Dagar, in which he performs the night raga 'Yaman Kalyan', we hear all manner of frozen tanpura stasis; twisting, hovering drones; gracefully bent notes. Dagar weaves a complex web, bringing the recording to a fitting, measured conclusion, in contrast to the unrestrained virtuosity rounding off most performances by his contemporaries. This edition is adorned with beautiful archival photographs of Dagar taken by Swedish percussion legend Bengt Berger and accompanied by detailed notes from Bradford Bailey.
Review: Recorded in collaboration with Nils Frahm at Berlin's Leiter Studio, Ganavya's fourth album is destined to carve its own path to recognition due to its unique quality. A follow-up to last year's acclaimed Daughter of a Temple, which drew praise from many music outlets, Nilam - probably best known her for her appearance alongside Sault at their recent live show - continues her journey into music as devotion, meditation and memory. Born in New York and raised in Tamil Nadu, she moves fluidly between traditions, channeling pilgrimage trails, harikatha storytelling and jazz improvisation into something uniquely her own. Her voice is unhurried, intimate and full of clarity, conjuring stillness even in motion. It's a sound that invites stillness but never feels static, where every breath carries the weight of generations and each silence says as much as her lyrics. The songs on Nilam feel distilled from years of lived experience, shaped by years of live performance as tracks like 'Sees Fire' blend Eastern tonalities with meditative jazz, fusing introspection with emotional firepower. The album traces the patterns of gratitude, loss and rootedness meanwhile anchoring the listener in a place beyond the physical. Rather than chase genre, ganavya reaches toward essence. Nilam isn't just an album, it's a moment held in reverence. A sonic altar where memory, spirit and sound meet. In her hands, song becomes a ritual of listening.
Review: The candidly titled Ananda Shankar And His Music hears its first official reissue via Mr Bongo. Released on His Master's Voice in 1976, the album is a sublime collage of sitar-funk, traditional Indian classical music and psychedelic grooves, from the Indian sitarist, composer and musician. Nephew to India's legendary sitar virtuoso Ravi Shankar, Ananda's musical family and upbringing led to a deep respect and love of the wealth of music that emanated from his birthplace of Almora, North India. However, touring America in his 20s revealed a latent love for psychedelic rock, and this debut LP captures that obsession to a T. The fusion of cyclic, North Indian tala with Americana music is best heard on the likes of 'The Lonely Rider', which envisages the a sonorous Sonoran Desert set against an action-sequenced sitar and guitar strumming. 'Back Home' achieves similar results, with a Western, soul balladic walking bass mixing effortlessly with the sitar's distinctive, tweeting "bendre" - an exotic but compelling combo.
Review: Naya Beat Records specialise in uncovering the otherwise forgotten sounds of 1980s Bollywood movies, shedding fresh light on the tracks that might still spark some interest for the present day. The project focuses exclusively on the musical output of CBS Gramophone Records & Tapes India Ltd: a label active during India's peak disco era and became a home for experimental, B-movie and straight-to-VHS soundtracks. 'Awaaz' compiles rare, overlooked or not-previously-on-vinyl music by composers such as Bappi Lahiri, R. D. Burman, Ilaiyaraaja, Kalyanji-Anandji, Anand Milind, Raamlaxman and Kirti Anuraag - all were released between 1982 and 1986. Shockingly catchy, the tracks are joyous fusions of both South Asian traditions and Moogy electronic and acid stylings, perfect for curios and DJ diggers alike.
Review: 'Shehzadi' (which means "Princess") is an Indo-disco gem featuring Solomon's Hindi vocals over Sababa 5's blend of hypnotic drums, nice pulsing bass, bright electric guitar and sparkling synths in a minor key. It channels '80s nostalgia with a modern twist and so rather evokes a Stranger Things meets Bollywood-type vibe. 'Ranjha' (which means 'Lover') shifts to a Middle Eastern feel with synths that echo traditional instruments like the saz. The upbeat groove complements Solomon's dynamic vocals and is filled with hope while dramatic pauses and an exuberant synth solo from Sophia add extra flair to make for a compelling mix of emotion and energy.
Review: Anoushka Shankar is of course daughter of the acclaimed sitar player Ravi who was brought to global prominence through his association with The Beatles. Anoushka is just as revered in her own right and the sitar player, producer and composer is now back with a new mini-album in the form of her Forever For Now EP. It is the first of three releases which will come between tours and form an ever evolving story. Ti sone features featuring guest appearances by Nils Frahm on piano, glass harmonica, harmonium and slit drum as well as Gal Maestro on bass and Magda Giannikou on accordion.
Review: Over the course of fifty years, Kamalesh Maitra devoted himself to the art of tabla playing - specifically playing the tabla tarang, a set of between ten and sixteen hand drums tuned to the notes of a drone and scalic backing. Here on Black Truffle comes 'Raag Kirwani On Tabla Tarang', a quelling new record detailing one of several newly unearthed archival recordings of this late great purveyor of the Indian classical music tradition. Across just two movements in one raga, Kirwani demonstrates an adroit playstyle, slickly promulgating an illusorily multi-armed sound; it's almost unbelievable at points as to how he achieves his various unisons and flams, with several pinpointable moments sounding as if at least three drums are being struck at once. Seated behind a semi-circular array of drums, Maitra produces stunning waves of melodic improvisation enlivened with the rhythmic invention of a master percussionist.
Review: Famous as the nephew of the world famous sitarist Ravi Shankar, Ananda Shankar carried the torch by contributing several greats to the continuing tide of prog rock and Western electronica. One such project was Sa-Re-Ga Machan, first released in 1981, and which lent a jungle-safari theme to the already established electronic rock fusions he'd laid down on his earlier self-titled record. Seguing through rollicking, schools-out psychedelic odysseys, not to mention humid, wonderfully sublime tropical soundscapes on which we can't tell what's synthetic and what isn't, this is an worthy new reissue from Life Goes On; worth every penny.
S Janaki & Brahmanandan - "Ezhupaalam Kadamnu" (2:03)
Review: An exact dozen Bollywood musical gems, expertly curated to reflect a multitude of styles and sounds within the full spectrum. Tracks from movies such as Blackmail, Apradh, Junglee, Priya, Bhoot Bungla, and Sholay all make appearances, many of which are names that should be familiar to fans of 'world cinema' - for want of a less lazy label - even if the soundtracks themselves are not. Spanning the later mid-20th Century, everything here was recorded between 1958 and 1984, and as such Bollywood Nuggets can be taken as a window on how tastes and demand changed during that time, while certain totems remained. Featuring artists such as Mohammedd Rafi, Kalyanji & Anandji, P Susheela & SP Balasubrahmanyam, and RD Burman, it's a fantastic overview and a fascinating deep dive.
Review: Maghreb rhythms and Tunisian vocals. The Brussels-based producer has flipped the script on this much-anticipated follow-up, swapping North African sounds and voices for those from the Indian sub-continent (the set was partially recorded in the city of Chennai). While this may surprise some, the basic formula - exotic rhythms created using drum machines, overlaid with a mixture of psychedelic electronics, traditional instrumentation and locally-sourced vocalists - remains as inspiring, heavy and intoxicating as ever. Given that he's pushed the boat out even more musically, Global Control/Immersive Invasion is arguably even better than its brilliant predecessor.
Review: Ravi Shankar is often cited as one of the most famous and influential sitar players in the world and none of his albums do quite as much justice to that claim than Shankar Family & Friends, first released in 1974. Unlike many of his former albums, this LP places a front-and-centre focus on Shankar's family members, with whom he collaborates throughout the album. Though, that's not to say it doesn't also come with commercial draws - indeed, George Harrison, Ringo Starr, Billy Preston and Tom Scott also make cameo appearances. For all its humble harkenings-back to familial source, Shankar does not hesitate to fuse his own ancestral Indian classical music with the Western pop and jazz elements of his friends. The likes of 'I Am Missing You' and 'Jaya Jagadish Hare' are nonetheless utter dreamscapes, and thanks to this reissue via the Mobile Fidelity Sound Lab series, this version comes as the highest-quality version of the record yet.
Review: Black Truffle presents a rare 1974 live recording of Pakistani vocalist Salamat Ali Khan here. He is a master of the kyhal style in Hindustani classical music, and this was captured at Berlin's MetaMusik festival. In it, Khan's performance of Raag Megh unfolds across three distinct tempos that cook up meditative calm with fiery improvisation. Accompanied by tabla and harmonium and uniquely using an alpine zither, the trio crafts a hypnotic, weightless soundscape that tends to emphasise silence and pulse over traditional drones. The LP features striking black-and-white photos and liner notes by musicologist Peter Pannke who helps to capture the transcendent power and spirit of this historic concert.
Bruno Boogie (Daniel Monaco Latin Wannabe remix) (4:30)
Bruno Boogie (radio edit) (3:15)
Review: 'Bruno Boogie' throws Indian dance motifs into a blender with glossy disco-funk, and comes out the output side a slick, sweaty and strange pesto. The brains behind it are Euro Nettuno, still warm from their dreamy Apres Le Paradis drop on Polyamore, teaming up with label boss Bruno Belissimo, a multi-instrumentalist with a knack for fusing slap bass and synth swirl into tight, live-sounding cuts. The yield is a heady, percussion-rich blend, where Mumbai heat meets Rimini kitsch. Daniel Monaco steps in on remix duty, pushing it further into the cosmos with a deep, sinewy rerub, shortly before a radio edit comes on the B2, poised to disrupt the world service airchain.
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