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A hep, hopped-up mix of Thai instruments with keyboards, drums and electric guitars; an addictive 60s blend of homegrown melodies and rock (notably The Shadows), surf, go-go, Latin, blues.

Profiling producer Theppabutr Satirodchompu — the first in a series of albums celebrating the key-players of modern molam music, from Northeast Thailand. Limited vinyl from Light In The Attic.

Virtuosic, sor-led molam music from Isan, the province bordering with Laos and Cambodia — sprightly melodies through haunting dirges, over woozy basslines, drones, clattering percussion.

The ancient, shamanist, animist culture of the oriental Turks musically expressed in kuu by the komuz, a long-necked lute with a pear-shaped sound-box, and kui by the two-stringed dombra, about a metre long.

Shashmaqom trio improvisation from Uzbekistan, artful and serious: heartfelt singing and fine tanbur lute playing, set off by the accompaniment of dutor and rabob lutes, and doyra percussion.

Deeply moving singing from Ferghana in Central Asia — classical, slow, suspenseful and meditative in a world of pain — accompanied by lutes, chang (a psaltery), nay flute, dayera tambourine, and ghijak spike fiddle.

Refined, improvisatory, endangered traditional music for a quartet of two-stringed spike-fiddle, zither, two lutes.

Pipa master Wu Man and her Uyghur, Tajik, and Hui collaborators explore connections between the musical worlds of China and Central Asia.

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