[engl] 7FO: pronounced “nana f o” in English, “nana” being seven. Ryu no Nukegara: “dragon’ s husk” . These are the only difficulties you’ ll encounter here. This is warm, friendly, very relaxed music, very “understandable” and yet intriguing, sure to appeal to fans of electronic ambient, dub and chill-out music, as well as artists like Haruomi Hosono, Captain Ganja, La Monte Young, Equiknoxx and Tapes. The Osaka-based 7FO combines groovily sparse electronic percussion with similarly sparse dub-feel synth bass, as well as pentatonic synth and steel pan melodies, the latter with an intriguing Okinawa/Sunda/Malay feel. Sparkling dub-influenced processing and thoughtful mixing gives us a music which is trans-oceanic, warm, and enveloping. Following releases on RVNG, Bokeh Versions and Metron, Ryu no Nukegara is available on digital, CD and 12” LP, featuring a suite of four tracks and the 20-minute title track, whose titular dragon is Asian: a potent symbol of water, strength and good luck.

[engl] "Never Forget Me" is the second release on EM Records from Angkhanang Khunchai, one of the greatest Thai singers; the original 1979 vinyl release, now extremely rare, was a collection of her self-produced songs, backed by her own band. This radically independent stance, though admirable, caused the album to languish in relative obscurity, due to her lack of support from the business masters of the Thai music scene of the time. "Never Forget Me" is a plea to her fans, and although the original album was not widely distributed, the high quality of the songs ensured that she was indeed not forgotten. Her first album, which was produced by Surin Phaksiri, was the very first of the new molam-luk thung style; the songs here continue in that vein, a mix of modern luk thung Isan and various types of molam, backed here by her hand-picked ensemble, which later disbanded due to financial pressures. Despite these struggles, "Never Forget Me" lives on, its killer tunes loved by DJs and given a 5-star rating by psych record guru Hans Pokora. Available now on vinyl and CD, with English lyrics and liner notes, this is unforgettable.

[engl] An exciting collection from pioneering Thai molam idol Banyen Rakkaen, featuring her most thrilling performances from the early to mid-70s, with innovative genre-bending arrangements and production from Thepphabut Satirodchomphu. These tracks, all originally released on 7-inch vinyl, showcase her powerful yet alluring voice, revolutionary yet rooted in tradition. Her exciting performance style was revolutionary and shocked traditionalists, but none could dispute the fact that she was a truly gifted singer, and Theppabut’s visionary production skills added to the feeling of freshness and vitality. The early 1970s saw a growing demand in Thailand for exciting and danceable music, and the recordings compiled in this release filled that demand perfectly. Banyen was one of the great singers of that era who propelled Isan music to nationwide popularity. A true star who in 2013 was designated a living national treasure, Banyen stole hearts with these hard-driving hits, while inspiring a new generation of aspiring singers. Banyen will now steal your heart -- on CD or 12-inch vinyl. Cover art: Shinsuke Takagi

[engl] The music of Clan Caimán is primitive and hypnotic. It is located in the pre-rock era and from there, it proposes a different evolution path for music from the 1950s to present day. Like a different musical development in a parallel timeline. Gamelan, Hawaiian music, surf, exotica, rainforest or aquatic; these elements make up the palette which constructs a mystic and profound music that seeks ancestral connection. Formed in 2016 by musician, composer and producer Emilio Haro looking to create music generated by group dynamics, Clan Caimán differs from his past two solo albums (“Panorámico” in 2007 and “Estrambótico” in 2012, both on Radiaciones Armónicas) in that these were studio work and not meant to be played live. The quintet's enigmatic sound is built upon the kalimbafón, an instrument created by Haro using several kalimbas, Diego Voloschin's wild and hypnotic percussion (no cymbals, no snare), Gonzalo Cordoba's lap steel and baritone guitar, Facundo Gomez's psychedelic guitar tones and Claudio Iuliano's dry and percussive bass sound. This debut album contains eight anachronistic and oddly familiar compositions that range from introspection to trance, tracing their own sonic landscape.

[engl] For reasons unknowable, certain places in certain eras become hotbeds of music, fertile in their growth and flowering of musical talent. Thailand in the 1970s was such a place, and Dao Bandon is one of the enduring greats of that era. Born in the farm country of the Isan region, Bandon came from a poor family and was a monk during his teens, two great influences which shaped him, with his farm roots grounding the earthy heart of his lyrics, and his years of monastic chanting lending a unique resonance to his singing. After an apprenticeship with some of the greats of Thai music, Dao Bandon began to enjoy success leading his own band. The songs here, released in the 1970s, showcase the infectiously joyful Bandon groove, his mellifluous voice, and his captivating melodic sense. His lyrics deal with sex, love, marijuana, and the struggles of the poor, but no matter what he sings about, a sense of good cheer is always evident. Featuring parallel translations of the lyrics, in-depth liner notes, rare photos and of course great music, "Man on a Water Buffalo" is yet another example of Thai excellence from EM Records.

[engl] Despite tremendous political upheaval, Argentina in the 1960s and 1970s witnessed a remarkable musical flowering in which traditional "Folklore" styles were embraced and updated by a new generation of musicians who fused traditional Argentine rhythms and musical forms with elements of rock, soul, funk and jazz. Percussionist Domingo Cura was at the the center of these exciting musical developments. Born in 1947 in Santiago del Estero province in northern Argentina, he moved to Buenos Aires at the age of 18 where he joined the band of harmonicist Victor Hugo Diaz. In the 1960s Cura became the rhythmic heart of much Argentine music, playing with Ariel Ramirez, Mercedes Sosa, Astor Piazolla and Gato Barbieri. Cura also worked closely with Eduardo Lagos, playing on every track of Lagos's 1969 debut album "Asi Nos Gusra", a landmark of the modern Argentine Folklore sound. This release is a compilation of the finest moments from Domingo Cura's four solo albums released during the period 1971 to 1977, featuring Cura's propulsive mastery of the traditional Bombo drum as well as other percussion instruments. The music ranges from dj-friendly percussion workouts to piano-dappled rhythmic fantasias, Afro-Latin sax grooves to pieces with a more typically "South American" feel, featuring guitars and flutes. But it all coheres, driven along by Cura's percussive vision, magnificently displayed on the opening track "Percusion", a groundbreaking multi-track groove monster. For all percussion lovers and fans of world music. Featuring a lovely collage cover by Finnish musician and artist Jonna Karanka (a.k.a Kuupuu).

[engl] How can we explain the power of music? How can songs delivered in a language which we don't understand move us so? This collection contains the very best songs from Hongthong Dao-udon, one of the great Thai singers of the "third generation" of Molam singers, one of the artists who succeeded in fusing Molam with Luk Thung, thus triggering a new generation of singers; in fact she was the first to sing both genres from the beginning of her career, considering herself to be situated happily between the two styles. But none of this matters, finally, to the listener. This is music, not musicology, and Hongthong Dao-udon sings to us, not the pedants. Her career was brief, and these songs from the late 70s and early 80s are her very best, showcasing her rich vibrato, her masterful control, and the undeniable emotional power of her voice, carrying us from joy and whimsy to melancholy and desolation. Produced mainly by Doi Inthanon, a legendary independent producer, these songs were very popular in Thailand, and it is easy to hear why, with strong melodies, impeccable swing, interesting arrangements, and of course her thrilling voice. Available on CD and vinyl, with two songs previously unavailable on CD, as well as her first recording and her biggest hits, this is essential. What is “luk thung”? A musical genre whose name means ‘country person’s song’ or ‘children of the field’. The name became established in the latter half of the 1960s and now has the status of a national genre of popular song unique to Thailand. The lyrics of luk thung songs deal mainly with the rural idyll, comparisons between the city and the countryside, life in the big city and current affairs. There are certain typical traits to the music, but no official musical form. What is “Molam”? "mo" is an artist and "lam" is a kind of performance art where the artist tells a story using tonal inflexions. In other words, the term molam refers to both the singer and art form. Molam pieces are not strictly speaking "songs".

[engl] Here's a tasty treat for all fans of DIY pop music: a multinational confection, the perfect blend of sweet and smart. Based around the core members Matt Jones, originally from Western Massachusetts, and Busan native Jee Eun Lim, who met in Korea in 2011, The Jee Jee Band fuses simple pop structures, airy instrumentation and breathy vocals with clever lyrics, in both Korean and English, often of a satirical or political nature. Currently based in Northern California, the band quietly celebrates Korean culture while also evidencing a cosmopolitan classic pop sensibility, blending K-Pop and other Asian pop elements with a classic and yet contemporary US/UK pop feel. The songs on "Glass Fish", all very fresh-sounding, feature performers from South Korea, America, and, on one song, the Khmer-language vocals of Cambodian filmmaker Vanntey Morn. Jones' Western Massachusetts pop roots allowed him to enlist the skills of former members of Sunburned, Sebadoh and others to help record this charming and refreshing release, sure to appeal to fans of the K Label, DIY sounds, and pure pop. Edition of 500.

[engl] The best of Khwanta Fasawang, the heart and soulful Sister No. 1 of 1980s Lam Phaen, queen of the cassette era. She was chosen, from over a thousand demo tapes, by legendary producer and songwriter Doi Inthanon, who wanted to create a new, streetwise dance style of molam(*) music. The Lam Phaen genre was the result, and Khwanta Fasawang was the singer he chose to be its representative. Combining earlier musical trajectories with electronic elements and lyrics dealing with drinking and love, money and motorcycles, Khwanta led the cassette-format Lam Phaen boom of the early 80s, gaining great popularity in both her native Isan and across the whole country. A change in lyrical concerns and the use of electronics has parallels with Jamaican Dancehall, and this music can be heard as one of the roots of Lam Sin, the Thai Bass Music which began in the 80s and 90s, but these recordings are not mere musicology. This is living music, and very fine music at that. Queen Khwanta, Sister Fasawang. She can't be denied.

[engl] Martoc, aka Martin O'Cuthbert, has been making alien and alienated synth-pop in the UK since the post-punk period. This compilation gathers six songs released on seven-inch EPs during the years 1978-80, plus four songs released during the first decade of this century. The tracks show a distinctive stylistic unity, inspired by fellow spirits like Fad Gadget, The Normal, John Foxx and Kraftwerk; across the decades Martoc has maintained both his close relationship with his synthesizers and an arms-length relationship with society, resulting in an appealingly quirky and individualistic iciness, informed also by his love of science fiction writers such as J. G. Ballard and Iain Banks. One of the songs included here, "B.E.M.S.", was chosen as Record Of The Year by John Lydon in New Musical Express in 1978; John Peel was also a supporter. Despite these and other accolades, Martoc and his simultaneously catchy yet disturbing music has hovered resolutely under the radar, an alien craft avoiding detection by an unaware and perhaps unprepared world. Gathered together here, this collection of tracks offers an excellent opportunity investigate an alien explorer, on CD or vinyl.

[engl] EM presents the vinyl and CD reissue of Nicolas Collins' live radio sampling masterpiece, originally released on vinyl in 1986, served up in all its stuttering glory, a time capsule of the mid-80s New York City airwaves, acclaimed by Philip Sherburne as "an early template for techno", with a feel somewhat akin to scratching turntablist madness, a block-rocking party put through a blender and reassembled by body-popping demons. And more:"Real Landscape", a 1987 "remix" recorded in Europe (originally released on cassette), and (CD only) "The Spark Heard 'Round The World", a fascinating tape piece sourced from multi-band radio and scanner recordings, plus (also CD only, alas) video of a live performance of "Devil's Music" from 1987 in Birmingham, UK. And if you're still not satisfied, CD purchasers also get a downloadable software version of the original hardware circuitry used for "Devil's Music" which, a la David Tudor, constitutes the original composition itself. Make your own "Devil's Music"! Nicolas Collins is a hugely influential in contemporary electronic music, having performed world wide for many years, collaborating with Christian Marclay, Elliot Sharp, David Shea, David Tudor and John Zorn, composing, recording, modifying circuits and inventing instruments, and spreading the good word through his writing and teaching. The pieces released here are only part of his ongoing, multifaceted and truly experimental activities.

[engl] Reissue of the legendary 5-track first LP (plus 2 bonus tracks) from horn wizard & original underground FM radio DJ Young, featuring soprano sax, clarinet, and electronically-processed bass clarinet. An enjoyable outing from a neglected musician. Cosmic afro mimimal electronic winds recorded in 1970s San Francisco. Thankfully, Isophonic Boogie Woogie is as weird and as wacked as all the above business would lead you to believe. Originally released in 1980, Isophonic Boogie Woogie was the first realization of Young's unique version of free jazz music, which he referred to as "Afro spiritual minimal electronic space music" which on closer listening is WAY more spot on… Some of the coolest, weirdest, most far out free jazz we've heard for sure (Aquarius Records in SF)

[engl] Japanese Folklore Series

[engl] EM Records is proud to present the first new album release in 25 years from Australia's Sheriff Lindo, dubmaster of the Southern Hemisphere. His Ten Dubs That Shook The World [EM1119CD/LP], released in 1988, has been growing in stature since its release, supported by its re-issue on EM Records, and in the meantime the Sheriff has been working steadily, deep-local style, honing his skills with the Australian sound systems Firehouse Sound and Earthlink Sound. The tracks on Aftershock Dubs, recorded between 1990 and 2005, while never officially released, have been played as dub plates at sound system parties, proved movers, tested in the heat of action. Recorded at Lindo's 4/5 Studios, these specials were chosen by Japanese sound system savants Takuto Kuratani (Ruv Bytes) and Atsushi Muneshige (Touch the Sky/Corner Stone Music) from a cornucopia of goodness supplied by Sheriff Lindo, mastered by Kuratani for maximum impact. EM Records' first-ever Dancehall release is available on vinyl and CD, with two bonus tracks on the CD. One track features the vocals of Ras Roni; all tracks feature the experience-forged Dub sense of the Sheriff. More than a quarter-century of love, knowledge and soul-science has been distilled here. Don't miss it.

[engl] A hotline to the gods! Kagura is a thousand-year-old form of Japanese Shinto sacred music and dance, accompanying the chanting of myths; the word "kagura" can be translated as "god-entertainment". Passed down over countless generations, the music is rare and recordings even rarer. Shigeo Tanaka was a master of the yumi (bow), an uncommon single-string percussion instrument, which is a true bow: arrows are fired off at the end of each ceremony to fend off evil sprits. The instrument is difficult to play; it's hard to draw out the proper sound and maintain the rhythm. Yumi kagura is the oldest of all the various forms of kagura. The Tanaka family, based in rural Jge-cho, Hiroshima prefecture, has passed down this yumi kagura tradition for hundreds of years; this lineage continues to this day in the person of his daughter Ritsuko Tanaka. The Jge-cho yumi kagura, which prays for family well-being, bountiful crops and good fortune, was designated an Important Intangible Cultural Property in 1971. The piece featured here, "Takusa saimon", based on the myth "Ama no iwato" (The Rocky Celestial Cave), is mesmeric, reaching back across ages to the time before time, with Tanaka's voice and yumi, accompanied by flute and metal percussion, drawing us closer to the primal activities of the gods. Listeners may find affinities with aspects of musics as diverse as German electronic minimalism like E2-E4, certain Ethiopian music, "spiritual jazz" and more, all tapping into the deep root of forever. Previously available only on a ridiculously obscure 1990 cassette release, Yumi kagura is the first collaborative release by EM Records and Riyo Mountains, a Japanese folk song research team.

[engl] Sonthaya Kalasin was the male lead singer in in the molam section of legendary producer/impresario Surin Phaksiri's beloved musical troupe Thidso Lam Phloen; his female counterpart was Phairin Phonphibun (EM1147CD/LP). These recordings, the very best of Kalasin's work with Phaksiri, cover the period from the mid-70s to the early 80s and showcase Kalasin's mastery of the traditional male molam lower vocal range. Also highlighted here are Phaksiri's production skills and his penchant for pushing the boundaries of standard molam arrangements and instrumentation, always trying to fuse new ideas with tradition. An uncredited Phairin Phonphibun makes an appearance on a few tracks here, giving lucky listeners a glimpse of the singers' Thidso Lam Phloen dynamism: Phaksiri's genius, a long-standing backing band, and simpatico vocal styles honed in the crucible of performance. This is the first CD release of any music from Sonthaya's years with Surin Phaksiri and as such represent a valuable document, with accompanying English lyric translations; but more than a document, "Grade A Guy" is grade A music.

[engl] We all know Thailand is a place where magic happens, and sometimes it's a place where dreams come true. Suthep Daoduangmai was an ordinary man from the predominantly rural Isan region with a long-cherished dream of forming a band under his own name, even though he wasn't a musician. After a spell of hard work overseas, he returned home wealthy and, magically, formed one of the most successful molam groups ever, an extravagant orchestra with over thirty members, including twelve dancers, blending traditional Isan instruments with modern Western instruments, and featuring four excellent singers, two male, two female. Of particular note is that legendary singer Siriphon Amphaiphong, along with her sister, made her debut with this band. But perhaps this wasn't all magic; Suthep Daoduangmai had an innate musical sense and a keen populist spirit, enlisting great singers and bringing in master producer Doi Inthanon to help hone his vision. This album, originally released in 1984, was a super-hit throughout Thailand, highlighting producer Doi's entertaining new dance-friendly "lam phaen" style, with lively tempos and street-wise country-meets-city lyrics, as exemplified in the title track in which the two male singers head to Bangkok and show the city folks what's what. Originally released on cassette, plus a few vinyl copies for radio play, this 1984 sensation is available again now on vinyl.

[engl] The music on this release consists of the earliest recordings by flautist T.R. Mahalingam, a legendary figure in the Carnatic music of South India, one of the world's great musical traditions. Mahalingam, known as Mali to his legions of fans and admirers, was a musician who revered these traditions yet opened new realms, raising the flute to levels of voice-like expressivity. Available on CD and vinyl LP, "Portrait Of A Prodigy: His Early Years, 1940-50s" reissues, for the first time, recordings from the mid 1940s to the mid 1950s and show Mali at the peak of his powers, his acclaimed technical skills and rich tone at the service of his immense melodic and rhythmic gifts. The majority of these recordings were originally released in the 78RPM SP format and feature him with two of his greatest musical partners, violinist T. Chowdiah and mridangam master Palghat Mani Iyer. Available for the first time as a commercial release outside of India, "Portrait Of A Prodigy" is a rare opportunity to hear a genius in his prime. A must-have for all fans of Indian music and for all who appreciate the joys of rhythmic playfulness and melodic mastery.

[engl] Quality cutting at 45PM at the Dubplates & Mastering studio. Standard 140g black vinyl in special blue inner sleeve. Glossy lamination finish for the outside of the outer sleeve. The inside of the outer sleeve is printed in sky blue.

[engl] A revered figure in his native Isan region, and indeed throughout Thailand, Doi Inthanon is a legendary producer, composer, visionary and talent-spotter, a man who combines business acumen with an unerring ability to both predict and engender new directions in Thai popular music. Fittingly naming himself after the tallest mountain in the nation, he has towered over Thai music since the early 70s, and is still active today. This compilation, the first "various artists" collection in the EM Records + Soi 48 Thai music series, is an avalanche of Doi Inthanon productions, big hits and rare treasures spanning the early 70s to the mid-80s. The songs here cover a range of genres, comprising luk thung isan, Thai funk, and molam, including examples of "lam phaen", one of several styles created by the producer himself. Doi Inthanon is highly regarded as a developer of singers, and this compilation has no shortage of greats: national icons Angkanang Khunchai and Po Chalatnoi Songsoem, second-generation molam idols such as Onuma Singsiri and Hongthong Dao-udon, soul sister No. 1 Khwanta Fasawang, and 80s-90s Isan star Thongmai Mali. Doi Inthanon is a key figure in Isan pop music, and this essential collection conveniently gathers hard-to-find tracks which have been issued on various labels in Thailand, including Double Rabbits, Apple, Uea Aree and his own private label.