The singer Yu Ji-suk, with a 10-piece ensemble of choir and percussion, performing the Seodo Sori repertoire of the north-west provinces. Nostalgic, dynamic folk songs, rooted in everyday life.

Charged, gritty, soulful pop yeh yeh from 1968-71, with backing by Malaysian legends like The Rhythm Boys, The Wanderers, The Flamingoes and The Falcons.
With a full-size, eight-page, colour booklet containing detailed biographical notes and Othman’s own rare photos.

Dangdut, keroncong, jaipongan, rock, pop, disco, as well as theatre, commercials, DJs, news snippets, and other broadcast bits and pieces.

Assorted strange and beautiful pop, folk, and classical music styles — intercut with bits of broadcast staples like synth ballads, hip-hop jingles, and internationally popular songs re-recorded in Burmese.

Dangdut, melayu, gambus, punk, rap, psych, Islamic folk, you name it; with snatches of news, karaoke call-ins, ads, prayers and US-style station-IDs.

Eighteenth and nineteenth century folk repertoire featuring horn, overtone flute, panpipes, vertical flute, shepherds’ trumpet — and violin or balaika.

‘Every song is a mini-masterpiece, be it heavy acid rock psychedelia, horn and guitar drenched funk grooves, or gripping soul ballads reflective of life during wartime.’

Seven songs by Rully Shabara and Wukir Suryadi, rootsily mystical and vividly al fresco, spiralling from peripheral sites beside rubbish dumps and rice fields, into a busy market at the heart of Yogyakarta, from dawn till dusk.

‘The basic theme of the record can be summed up with one extremely powerful Bahasa Indonesian word, Tanah, which translates as ‘soil-ground-land-earth’. Shabara’s vocals are an expressive force, conjuring spirits from the soil with a deep, cosmic humility and respect for the land.
‘Suryadi has built a new guitar for these tracks and pushes the Senyawa sound into new territory, utilizing delay, loops, and other effects to constitute groundings of folk, metal, punk and drone, for Shabara to explore with his whispered poetry and jagged, sharp-as-a-kris animistic powers. There is simply no other sound like it.’

A miraculous bouquet of gagaku, shakuhachi, shamisen, storytelling, folksong and more, including the first commercial recordings in Asia.

Central Asian art music — derived from the Shash maqam of Bukhara — performed by the singer Jurabeg Nabiev, with the Ensemble Dorrdane.

A master of the sato (a bowed tambur or long-necked lute held vertically) joined by Tajik singer Ozoda Ashurova in this beautiful, haunting, little-known court music. Plus doyra drum and dotar lute.