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Viscerally churns together blues — Bo Diddley stands out — and tearjerking Japanese folk and pop, as if possessed. Immediate as a street musician off the rails. Brilliant at Cafe Oto in Dalston recently.

‘A blood curdling 1976 live performance that proves once again that he is the ultimate acid folk/rural beatnik guttural hero… also his most private statement to date, loaded with cries of sorrow and grief…’

Beat rockers, psych pop, ballads and freak-outs from Indonesia’s answer to The Beatles.

The Jongmyo Jeryeak is a combination of vocal and instrumental music, with dancing: solemn and majestic ritual music for drums, gongs, bells, chimes, zithers, fiddles, oboes and flutes, in honour of royal ancestors.

Kim Hae-Sook playing twelve-silk-string zither, with buk accompaniment.

Developed in Phnom Penh workshops — ‘improvised and electro-acoustic approaches to traditional Cambodian music and instruments’ — fluently jazz, dub, ambient and techno, and definitely one to check.

The teenager’s landmark fusion of Molam and Luk Thung, from 1975.

Aka Flightless Bird Needs Water Wings, a greatest hits 1967-82 by the most legendary of Japanese underground rock groups. Buckling and distorted as a rule; demented and dazed, freaked-out and lyrical by turns.

Confucius’ instrument, the guqin was used by scholars and nobles for self-purifiation. Lo was a Taoist priest who lived in the remote lands of the New Territories behind Hong Kong. 1970 recording.

A kaleidoscopic 90 selections sprawling over six decades, with a 272-page book of essays and notes richly illustrated with more than 250 vintage photographs, record labels and sleeves. Another ravishing DTD release.

An invigorating jumble of country soul and asides from Laos and Thailand, drawn from 70s and 80s LPs, 45s and cassettes, mixing electric guitars and organs with traditional instruments like the khaen and the phin.

Stupefying throat singing (two notes simultaneously), ‘long’ songs (covering a very wide register in a single breath) and hyper-expressive ‘short’ songs; also pieces for the morin khuur fiddle. Warmly recommended.

Bardic epics and nomadic songs, with dombra lute accompaniment.

A dizzying kind of Dixieland gamelan, played on Indonesian, Chinese, and sometimes European-derived instruments.

‘Dreamy musical segments, fleeting glimpses, odd sounds, temple shrines, decay, death, afternoon rains, and mysterious celebrations… from the Irrawaddy delta to humid nights on the streets of Isan province.’

Volume 3. ‘the melodically ornamental and thundering sound of the Nat Pwe orchestra… impossible yet flawless execution of composition, wild free-form improvisation, ghost spirit-possessed vocal divas’ (SF).

From 1989 field recordings, around the villages of Peliatan and Ubud. Amidst fragments of gamelan and ketchak are sounds of the surrounding forests, odd folk for flute and drum, outdoor village theatre.

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