{"title":"Screenshots Email","description":"","products":[{"product_id":"ciani-suzanne-buchla-concerts-1976","title":"CIANI, SUZANNE - Buchla Concerts 1975","description":"\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eFinders Keepers presents these incredible early Buchla synthesizer concerts\/demonstrations providing a distinctive feminine alternative to \u003c\/span\u003e\u003cb\u003eThe Silver Apples Of The Moon\u003c\/b\u003e\u003cspan\u003e if they had ever been presented in phonographic form. This record is a triumphant yardstick in the synthesizer space race and the untold story of the first woman on the proverbial moon. If the unfamiliar, modernistic, melodic, pulses, tones and harmonics found on this 1975 live presentation\/grant application\/educational demonstration had been placed in a phonographic context alongside the promoted work of \u003c\/span\u003e\u003cb\u003eMorton Subotnick\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eWalter Carlos\u003c\/b\u003e\u003cspan\u003e, or \u003c\/span\u003e\u003cb\u003eTomita\u003c\/b\u003e\u003cspan\u003e then the name \u003c\/span\u003e\u003cb\u003eSuzanne Ciani\u003c\/b\u003e\u003cspan\u003e and her influence would have already radically changed the shape, sound and gender of record collections. Suzanne was a self-imposed twenty-year-old employee of the Buchla modular synthesizer company, San Francisco's neck and neck contender to New York's Moog. Suzanne Ciani, as one of the very few female composers on the frontline (and also providing the back line) did not lose faith. These \"concerts\" are the epitome of rare music technology historic documents, performed by a real musician whose skills and academic education in classical composition already outweighed her male synthesizer contemporaries of twice her age. In denouncing her own precocious polymathmatic past in a bid to persuade the world to sing from a new hymn sheet, Suzanne Ciani created a bi-product of never before heard music that would render the pigeon holes \"ambient\" and \"futuristic\" utterly inadequate. Providing nothing short of an entirely different feminine take on the experimental \"records\" of Morton Subotnick and proving to a small, judgmental audience and jury the true versatility of one of the most radical and idiosyncratic musical instruments of the 20th century. These recordings have not been heard since then. The importance of these genuinely lost pieces of electronic music's puzzle almost eclipses the glaring detail of Suzanne's gender as a distinct minority in an almost exclusively male dominated, faceless, coldly scientific landscape. With the light of Buchla and Ciani's initial flame Finders Keepers continues to take a torch through the vaults of this lesser-celebrated music legacy shining a beam on these \"non-records\" that evaded the limelight for almost half a century.\" - Finders Keepers\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Finders Keepers","offers":[{"title":"LP","offer_id":45887348343003,"sku":"","price":32.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/FKR082XLP_CU.jpg?v=1721851831"},{"product_id":"ciani-suzanne-buchla-concert-at-galeria-bonino-new-york-april-1974","title":"CIANI, SUZANNE - Buchla Concert At Galeria Bonino New York April 1974","description":"\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThe very first Buchla synthesizer performance by revolutionary composer \u003c\/span\u003e\u003cb\u003eSuzanne Ciani\u003c\/b\u003e\u003cspan\u003e finally makes its fifty-year journey from its switch-on New York art gallery to its long deserved and discerning global phonographic audience. With this previously unheard vinyl pressing, Finders Keepers Records present an archival project of \"art music\" that not only redefines musical history but lays genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we have come to understand it. To describe Italian-American composer Suzanne Ciani's resurrected \u003c\/span\u003e\u003ci\u003eBuchla Concert\u003c\/i\u003e\u003cspan\u003e records as genuine gamechangers would be a gross understatement. These records represent a musical revolution, an artistic revelation, a scientific benchmark and a trophy in the cabinet of counterculture creativity. This sonic installation album, alongside her recently liberated \u003c\/span\u003e\u003ci\u003eWBAI\/Phill Niblock 1975\u003c\/i\u003e\u003cspan\u003e sessions (FKR 082X-LP), are triumphant yardsticks in the synthesizer space race and the untold story of the first woman on the proverbial musical moon. While pondering the early accolades attached to these golden era New York recordings it's daunting to learn that these records were in fact not even records at all. What exists on this disc now was a manifesto and a one-time gateway to a new world, which somehow was only partially pushed ajar. Captured here is a genuine live act exploring new territories with a fully performable music instrument. If the unfamiliar, modernistic, melodic pulses, tones and harmonics found on these 1970s artistic gallery collaborations\/live presentations (then soon to be followed by academic grant applications and educational demonstrations) had been placed in a phonographic context alongside the widely marketed work of \u003c\/span\u003e\u003cb\u003eMorton Subotnick\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eWalter Carlos\u003c\/b\u003e\u003cspan\u003e, or \u003c\/span\u003e\u003cb\u003eTomita\u003c\/b\u003e\u003cspan\u003e, then the name Suzanne Ciani and her infectious influence would have already radically changed the shape, sound and gender of our record. With the light of Buchla and Ciani's initial flame Finders Keepers continues the journey through the vaults of this increasingly celebrated music legacy, illuminating these \"non-records\" that evaded the limelight for almost half a century.\" \u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Finders Keepers","offers":[{"title":"LP","offer_id":45887351324891,"sku":null,"price":32.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/FKR118LP_CU.jpg?v=1721852235"},{"product_id":"still-house-plants-if-i-dont-make-it-i-love-u","title":"STILL HOUSE PLANTS - If I don't make it, I love u","description":"\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cb\u003eStill House Plants\u003c\/b\u003e\u003cspan\u003e third album and the fullest embodiment of their sound to date. Where \u003c\/span\u003e\u003ci\u003eFast Edit\u003c\/i\u003e\u003cspan\u003e formed with quick attachment and jump cuts, \u003c\/span\u003e\u003ci\u003eIf I don't make it\u003c\/i\u003e\u003cspan\u003e is shaped by persistence -- a commitment to the songs that makes the music solid, warmer and accepted. Marking the trio's decade of friendship, this is the first record written whilst all live in the same city since 2017's \u003c\/span\u003e\u003ci\u003eAssemblages\u003c\/i\u003e\u003cspan\u003e. The band rehearsed it relentlessly, playing for nobody except themselves, consistently building support for one another and growing the way they play. \u003c\/span\u003e\u003cb\u003eJess\u003c\/b\u003e\u003cspan\u003e's voice is deeper. \u003c\/span\u003e\u003cb\u003eFin\u003c\/b\u003e\u003cspan\u003e's guitar is full size, richer. \u003c\/span\u003e\u003cb\u003eDavid\u003c\/b\u003e\u003cspan\u003e drums harder. Focused on one point together, everyone gets bigger and nothing falls apart. The guitar and the drums blend, raise the voice, make room for what is being said, what is felt. When able to finally record, production allowed layers, gave elasticity, a chance to fully stretch. Playing with length and connections, the band brought in analog techniques -- a Leslie cabinet on \"Headlight\", sidechaining the snare with the guitar, pushing vocals through cheap DJ software -- each process an attempt to bring one instrument closer to another, to give bass, body, backup. \u003c\/span\u003e\u003ci\u003eIf I don't make it, I love u\u003c\/i\u003e\u003cspan\u003e seeks beauty, holds feeling maximum and builds surety with its sound. The most generous SHP record to date, the music is wide open, demands less. Play it again, it will come clear.\" - Bison\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Bison","offers":[{"title":"CD","offer_id":45887360598235,"sku":"","price":18.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":45887360631003,"sku":"","price":32.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/BISON014LP_CU.jpg?v=1721852405"},{"product_id":"sternpost-ulrika","title":"STERNPOST - Ulrika","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"Every so often an album comes along that, from the very first seconds, fills one with a state of overwhelm and wonder, knowing that one has stumbled upon something truly special. Swedish musician \u003c\/span\u003e\u003cb\u003ePetter Herbertsson\u003c\/b\u003e\u003cspan\u003e has been steadily recording and releasing albums for over two decades with his group \u003c\/span\u003e\u003cb\u003eTestbild\u003c\/b\u003e\u003cspan\u003e! (not to mention many other projects under various aliases), but he recorded his so-far career defining statement with Ulrika, an album of almost imperceptible beauty. Quietly released at the tail end of 2023 by Sweden's Dilettante Productions in an edition of 199 copies, \u003c\/span\u003e\u003ci\u003eUlrika\u003c\/i\u003e\u003cspan\u003e unfolds like a flower in the morning sun, slowly opening and unveiling itself to the world. It's hard to believe that Herbertsson plays all of the instruments on the album, as it is an especially sumptuous affair, with guitar, vibraphone, all manner of keys (including some especially lovely harpsichord), melodica, vocals and more all intertwining with each other. In someone else's hands it could easily have come across as stiff and crowded, but here every instrument is given its proper amount of space to breathe, with an organic feeling of warmth that one just wants to sink into. Although some analogs can be made to '70s era \u003c\/span\u003e\u003cb\u003eRobert Wyatt\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eBrian Wilson\u003c\/b\u003e\u003cspan\u003e's lush arrangements or \u003c\/span\u003e\u003cb\u003eSlapp Happy\u003c\/b\u003e\u003cspan\u003e's charming avant-pop, Herbertsson has done an impeccable job of distilling these influences into his own defined sound. From the production to the compositions, nothing about \u003c\/span\u003e\u003ci\u003eUlrika\u003c\/i\u003e\u003cspan\u003e feels modern, the entire affair sounding like it could have been released in 1972 (in the best way possible). Rarely does 21st century music reach the levels of artistic maturity found on \u003c\/span\u003e\u003ci\u003eUlrika\u003c\/i\u003e\u003cspan\u003e.\"  - Concentric Circles \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Concentric Circles","offers":[{"title":"LP","offer_id":45887411421403,"sku":"","price":36.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/CC009LP_CU.jpg?v=1721854831"},{"product_id":"di-domenico-pak-yan-lau-and-john-also-bennett-giovanni-tidal-perspectives","title":"DI DOMENICO, PAK YAN LAU, AND JOHN ALSO BENNETT, GIOVANNI - Tidal Perspectives","description":"\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003ci\u003eTidal Perspectives\u003c\/i\u003e\u003cspan\u003e is an album by \u003c\/span\u003e\u003cb\u003eGiovanni Di Domenico\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003ePak Yan Lau\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eJohn Also Bennett\u003c\/b\u003e\u003cspan\u003e. Recorded across a single afternoon in Brussels, Belgium, the album's four parts are a rippling alchemy of processed Rhodes piano, sizzling ceramics, and liquified bass flute, a rare meeting of three unique voices from the contemporary music landscape that manages to flow with the depth and effortless inevitability of the oceanic tides. Giovanni Di Domenico, an accomplished composer and prolific collaborator who has released albums with \u003c\/span\u003e\u003cb\u003eJim O'Rourke\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eEiko Ishibashi\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eAkira Sakata\u003c\/b\u003e\u003cspan\u003e, among many others, initiated the collaboration with Bennett after the two met at a record fair in Saint-Gilles, Belgium and bonded over a shared inquisitiveness for unconventional sonic combinations. Along with Pak Yan Lau, a Belgian-born sound artist and improviser who has developed her own rich and unique sonic footprint, the trio entered the studio with little, if any, discussion beforehand, jumping right into playing without preconceived structures. The resulting recordings had a depth of sound and emotional resonance surprising even them, with finished pieces emerging from single live takes and minor edits. Bennett, known for his solo work as well as his collaborations with \u003c\/span\u003e\u003cb\u003eChristina Vantzou\u003c\/b\u003e\u003cspan\u003e as \u003c\/span\u003e\u003cb\u003eCV \u0026amp; JAB\u003c\/b\u003e\u003cspan\u003e, gives listeners here a taste of his bass flute in free-flowing form. Unconstricted by concept, joyfully and lazily bouncing off the melodic shimmers of Di Domenico's Rhodes, Bennett uses his flute's pitch information to trigger long tones that emerge like rays of light piercing through low hanging clouds - moments of clarity among a clicking world of sonic stimuli. Meanwhile, Lau's crackling and sometimes dissonant contributions on prepared piano, live hydrophone, and custom ceramic sound objects balance out the triangle, adding a sense of microcosmic intrigue that allows the music to seamlessly ebb and flow between moments of comfort and misty uncertainty. The album's title track and climax, the eighteen minute 'Tidal Perspectives,' drifts in with some kind of clarity, Lau's glinting tonal waves edging in just beyond the horizon lines drawn by Di Domenico's Rhodes and Bennett's bass flute. But like the tidal flows of the Atlantic that inspired its title, just as you begin to perceive what's happening, the currents have already taken you out to sea.\" -Editions Basilic\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Editions Basilic","offers":[{"title":"LP","offer_id":45887431475419,"sku":"","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/EBS2008LP_CU.jpg?v=1721855071"},{"product_id":"parker-organ-quartet-william-uncle-joes-spirit-house","title":"PARKER ORGAN QUARTET, WILLIAM - Uncle Joe's Spirit House","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"A gorgeous soul-jazz organ quartet album that hearkens back to early-mid '60s sessions of similar form; fully revitalized by \u003c\/span\u003e\u003cb\u003eWilliam Parker\u003c\/b\u003e\u003cspan\u003e's indelible compositions and the generous musical gifts of \u003c\/span\u003e\u003cb\u003eDarryl Foster\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eCooper-Moore\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eGerald Cleaver\u003c\/b\u003e\u003cspan\u003e. A straight-up joy. This very special project was produced by William Parker for his own Centering Records imprint, and dedicated to his \u003c\/span\u003e\u003cb\u003eAunt Carrie Lee\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eUncle Joe\u003c\/b\u003e\u003cspan\u003e (pictured on album cover). It was created to celebrate the occasion of their 65th wedding anniversary on August 6th, 2010. William wanted to get this album finished in time to gift to them for that auspicious date, and he did! He wrote seven of the songs in Dec 2009 toward the Jan 2010 recording session; 'Ennio's Tag' and 'Oasis' were previously written and they fit in perfectly. The CD was officially released on Centering Records in October 2010. Two pressings were made, and have long sold out. The special one-time only LP pressing was made in time for a family celebration\/\u003c\/span\u003e\u003cb\u003eOrgan Quartet\u003c\/b\u003e\u003cspan\u003e performance on May 19, 2024 at An Die Musik in Baltimore. Remastered and re-sequenced for vinyl, the LP includes a full-res download card of the album as originally released on CD, including three additional tracks.\" - Centering.\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Centering","offers":[{"title":"LP","offer_id":45889225687259,"sku":"","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/CENT1004LP_PROD.jpg?v=1721911619"},{"product_id":"cong-olivier-tropical-church","title":"CONG, OLIVIER - Tropical Church","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eWith \u003c\/span\u003e\u003ci\u003eTropical Church\u003c\/i\u003e\u003cspan\u003e, Hong Kong based composer and musician \u003c\/span\u003e\u003cb\u003eOlivier Cong\u003c\/b\u003e\u003cspan\u003e transposes the humid nights of the rainy season into a fluid audio postcard that speaks to contemporary life in his home city-state. His pieces dwell with a sense of intent, shifting between the sprawling cascades of human traffic, to the moments experienced alone in environments that maintain a strange familiar. Known for his work on film and theatre, Cong's approach is one of generous texture and minimalist forms, each of these contoured by a strong and deeply personal sense of harmony. \u003c\/span\u003e\u003ci\u003eTropical Church\u003c\/i\u003e\u003cspan\u003e is a recording that speaks to the emergent generation of new Hong Kong composers and sound artists. It is a gateway to a new audio vision of Hong Kong.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eA note from Olivier: \"In \u003c\/span\u003e\u003ci\u003eTropical Church\u003c\/i\u003e\u003cspan\u003e, you will experience music composed of piano, ambient electronics, shakuhachi, Chinese yuan, guzheng and spoken words, which I think represent my feelings for home -- Hong Kong. And to me, home is an old church that harbors a myriad of unspoken emotions, flowing from the West to East. Complex history hidden within the dampen pillars, the sounds of the city and the foot-steps of the everyday people that liven up the streets. Most notably in the first track, 'I am afraid of', voice recordings of anonymous strangers were collected describing their deepest fears. I'm most touched by the answers as they've shown me the same fears of death, love and being alone we all share.\" - Someone Good\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Someone Good","offers":[{"title":"CD","offer_id":45895853539547,"sku":"","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/RMSG027CD_CU_4db02edc-3852-4581-b2ac-ce3c444dbf39.jpg?v=1722019687"},{"product_id":"merzbow-nicolas-horvath-pia-noise","title":"MERZBOW + NICOLAS HORVATH - Pia-Noise","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"Even the most experienced ear will not come out of \u003c\/span\u003e\u003ci\u003ePia-Noise\u003c\/i\u003e\u003cspan\u003e unscathed. Consecrating the meeting of two consummate artists, this release confronts their universe like a massive head-on shock in the eye of a sound storm. \u003c\/span\u003e\u003cb\u003eMasami Akita\u003c\/b\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cb\u003eMerzbow\u003c\/b\u003e\u003cspan\u003e) has been surveying the territories of noise music for more than forty years, directing all sorts of instrumentaria, analogical or digital, instrument or software-based. For this record he relied on his favorite combination, a mix of various effects pedals and noise generators. \u003c\/span\u003e\u003cb\u003eNicolas Horvath\u003c\/b\u003e\u003cspan\u003e is a pianist of exceptional sensibility. More than well-versed in the classical repertoire, he also is fundamentally curious and multifaceted, as evidenced by his rescuing works and composers from oblivion, championing them on stage and patiently, carefully recording them. Nicolas Horvath also improvises and composes electronic music. Since the early 2000s, he has been active in the experimental and underground scene under many different names, especially \u003c\/span\u003e\u003cb\u003eDapnom\u003c\/b\u003e\u003cspan\u003e. A collaboration with Merzbow had already been considered some fifteen years ago. In the midst of forced isolation, it was all the more tempting to meet symbolically, following the ways of the World Wide Web. \u003c\/span\u003e\u003ci\u003ePia-Noise\u003c\/i\u003e\u003cspan\u003e is actually a project born from the health crisis and lockdowns, carried out from different homes in days of anguish and uncertainty. Both artists thus projected their worries about the ongoing crisis and today's ecological disaster. The music produced took on the shape of a constant struggle between, on the one hand, Merzbow's continuous release of energy, saturated sounds, masses, stridencies, powerful granulations, surrounding textures, chaotic rhythms and organized chaos, and on the other, Nicolas Horvath's improvisations, sometimes lyrical, sometimes harmonic, always deeply rooted in his classical culture and personal pantheon, like a memory of a golden age forever lost. No listener will escape it as they lend a careful and sometimes all but desperate ear to the raging soundwaves. The two continuous musical lines often collide and even seem to ignore each other every so often, but they also meet and complete each other, helping the compositions breath. This confrontation generates a great opulence of sound calling for an extremely active form of listening. In the midst of a global wreck and a period of upheaval, two artists still manage to communicate from one digital raft to another, and render the poetry of a moment. Comes in four-panel digipack with eight-page booklet.\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Sub Rosa","offers":[{"title":"CD","offer_id":45895853605083,"sku":null,"price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/SR530CD_CU.jpg?v=1722019820"},{"product_id":"fafchamps-jean-luc-ensembles","title":"FAFCHAMPS, JEAN-LUC - Ensemble(s)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"Seen from the outside, \u003c\/span\u003e\u003ci\u003eEnsemble(s)\u003c\/i\u003e\u003cspan\u003e is in a sense a kind of compilation of unreleased or rare pieces covering nearly three decades. Five essential pieces that count in the evolution of the \u003c\/span\u003e\u003cb\u003eJean-Luc Fafchamps'\u003c\/b\u003e\u003cspan\u003e writing. Post-spectral works that definitively position Fafchamps as one of the important European composers. It also weaves subtle links between him and \u003c\/span\u003e\u003cb\u003eJean-Paul Dessy\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eMusiques Nouvelles\u003c\/b\u003e\u003cspan\u003e, once created by \u003c\/span\u003e\u003cb\u003eHenri Pousseur\u003c\/b\u003e\u003cspan\u003e. This disc is undoubtedly the best introduction to his work. Performed by Musiques Nouvelles. Conducted by Jean-Paul Dessy.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"At the instigation of Jean-Paul Dessy, the Musiques Nouvelles ensemble initiated all sorts of configurations to which I was often associated, and glad to be. This album is the journal of these criss-crossing collaborations: sometimes as part of the \u003c\/span\u003e\u003cb\u003eECO\u003c\/b\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cb\u003eEuropean Contemporary Orchestra\u003c\/b\u003e\u003cspan\u003e) project, through which Musiques Nouvelles met the \u003c\/span\u003e\u003cb\u003eEnsemble Télémaque\u003c\/b\u003e\u003cspan\u003e (from France) and \u003c\/span\u003e\u003cb\u003eOrkest de ereprijs\u003c\/b\u003e\u003cspan\u003e (from the Netherlands) in a large orchestral formation; sometimes for a project produced with \u003c\/span\u003e\u003cb\u003eArt Zoyd\u003c\/b\u003e\u003cspan\u003e (France); sometimes as a string ensemble or with \u003c\/span\u003e\u003cb\u003eClaire Bourdet\u003c\/b\u003e\u003cspan\u003e as a soloist. I am glad to present, united in one album, such different periods, contrasting collaborations and multiple encounters not merely due to coincidence but also to affinities. May my style, and the story of my questionings, give a certain consistency to this ensemble of beautiful collaborations.\" --Jean-Luc Fachamps\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Sub Rosa","offers":[{"title":"CD","offer_id":45895856718043,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/SR547CD_CU.jpg?v=1722019920"},{"product_id":"mashabi-and-his-kelana-ria-orchestra-m-kafilah-nights-malay-arabic-variations-from-1960s-indonesia","title":"MASHABI AND HIS KELANA RIA ORCHESTRA, M. - Kafilah Nights: Malay-Arabic Variations From 1960s Indonesia","description":"\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cb\u003eRobert Johnson\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003eof Indonesia's\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eOrkes Melayu\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003emusic finally comes out from the shadows. Between 1961 and 1964,\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eKelana Ria\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003erecorded 48 songs that were spread over four records,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eKafilah\u003c\/i\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eYam El Shamah\u003c\/i\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eYa Mahmud\u003c\/i\u003e, and\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eYa Hamidah\u003c\/i\u003e, which became the primary sources for this compilation. In the early 1960s, two of the best talents in the Indonesian music scene, songwriter and band leader\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eAdi Karso\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003eand Gambus musician\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eMunif Bahasuan\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003eteamed up to form Orkes Melayu (Malay Orchestra) Kelana Ria. These four recordings changed the trajectory of Indonesian popular music. \"Renungkanlah\" has been covered by many countless other musicians in Indonesia and Malaysia and it has become a hit many times over. The song has become a go-to song in karaoke bars in the region, with fans oblivious to who actually wrote this song or who performed it the first time. Or take the song \"Ratapan Anak Tiri\" (\"Lament of a Stepchild\"), a song that has traversed national boundaries and has become a universal sad song in the Malay world, turning into a shorthand for melancholia that permeates this archipelago of nations. Another stunner is the melancholia-laden \"Kesunyian Jiwa\" (\"Silence of the Soul\"), an operatic tune so majestic that it could open any black and white\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eKurosawa\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003efilm from the late 1940s. The songs and the soulful vocal performance belong to\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eMuhamad Mashabi\u003c\/b\u003e, who despite the popularity of the songs he created is now largely forgotten, whose history was kept alive only in the neighborhood where he grew up in Central Jakarta. With only a short musical career and only nine recorded songs from almost 40 compositions, Mashabi fell by the wayside in the early 1970s, especially with the rise of pop and rock from bands like\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eKoes Plus\u003c\/b\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cb\u003ePanbers\u003c\/b\u003e, and\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eGod Bless\u003c\/b\u003e. Yet his songs, inspired by Malay traditional songs but performed in the modern studio setting, lay the foundations for what would become the biggest musical genre in the country, dangdut, especially the kind that was popularized by the self-styled king of the genre,\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eRhoma Irama\u003c\/b\u003e.\" - Elevation Records\u003c\/p\u003e\n\u003c!----\u003e","brand":"Elevation","offers":[{"title":"CD","offer_id":45895857340635,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/ELE035CD_CU.jpg?v=1722020040"},{"product_id":"v-a-women-in-turkish-electronic-music","title":"V\/A - Women In Turkish Electronic Music","description":"\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eAfter the release of the \u003c\/span\u003e\u003ci\u003eAnthology of Turkish Experimental Music 1961-2014\u003c\/i\u003e\u003cspan\u003e (SR 390CD, 2016), this new series of recordings unveils the diverse creativity of young Turkish female artists. The majority of these compositions were crafted between 2021 and 2024. The anthology presents works from 15 Turkish female artists, each contributing to the album's beauty through their multifaceted creations. It encompasses various styles, ranging from purely formal music to innovative electronica, incorporating remnants of Turkish harmonies, as well as pieces with conceptual or political undertones, varying in intensity from subtle to overt. Featuring \u003c\/span\u003e\u003cb\u003eAslz Kobaner\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eEda Er\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eElif Yalvaç\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eEylül Deniz\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eFulya Uçanok\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eGökçe Uygun\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eGülce Özen Gürkan\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eGüls¸ah Erol\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eKAOSMOS\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eMelteM Ural\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eMine Pakel\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003ePervin Güzeldere\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eSenem Pirler\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eSeinemis\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eZeynep SarÏkartal\u003c\/b\u003e\u003cspan\u003e.\" - Sub Rosa\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Sub Rosa","offers":[{"title":"CD","offer_id":45895858847963,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/SR565CD_CU.jpg?v=1722020170"},{"product_id":"oberland-gregory-dargent-tony-elieh-wassim-halal-frederic-d-sihr","title":"OBERLAND\/GREGORY DARGENT\/TONY ELIEH\/WASSIM HALAL, FREDERIC D. - SIHR","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"After a few concerts\/screenings improvised as a duo in Cairo and Beirut, as well as for the \u003c\/span\u003e\u003cb\u003eRencontres d'Arles\u003c\/b\u003e\u003cspan\u003e, the Lille photography center and the Belgian magazine \u003c\/span\u003e\u003cb\u003eHalogénure\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eDargent\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eOberland\u003c\/b\u003e\u003cspan\u003e have teamed up with mavericks \u003c\/span\u003e\u003cb\u003eElieh\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eHalal\u003c\/b\u003e\u003cspan\u003e for a puzzling cross-border manifesto. The first sonic moves of this eclectic quartet, made in a bunker studio somewhere between Paris and Berlin, urgently took the form of a quest, that of a neo-folklore for troubled times, a music seeping with many kinds of atavism and experimenting in all directions. A fertile no-man's-land where trance and contemplation, jazz and electronica, acoustics and electricity would merge in a stimulating mystical magma. From the possible emergence of a Babelian language to the shared desire to rediscover music as a ceremonial act, this encounter took place over three days of improvised sound bacchanalia, the phases of which were all recorded by \u003c\/span\u003e\u003cb\u003eBenoit Bel\u003c\/b\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cb\u003eZombie Zombie\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eThurston Moore Group\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eOiseaux-Tempête\u003c\/b\u003e\u003cspan\u003e). A hallucinated and generous testimony, \u003c\/span\u003e\u003ci\u003eSIHR\u003c\/i\u003e\u003cspan\u003e is a synergy of many different worlds and many different possibilities, the sonic vision of a present conjugated in a hybrid tense and exalted by too many tangos danced. Multi-instrumentalist and photographer, Frédéric D. Oberland has been leading the Oiseaux-Tempête collective for over ten years, lying somewhere between avant-rock and free jazz, repetitive music and electronics. Founding member of the bands \u003c\/span\u003e\u003cb\u003eFOUDRE!\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eLe Réveil des Tropiques\u003c\/b\u003e\u003cspan\u003e, he's also performing solo and composing soundtracks for cinema and installation art. Electric guitarist, oud player, composer and photographer, Grégory Dargent cultivates his musical schizophrenia and identity through improvised music, trance music, jazz, hijacked maqam, repetitive music, pop, electro-acoustic installations and French chanson. Tony Elieh is one of the pioneers of experimental music in Lebanon. A founding member of the first post-rock group of post-war Lebanon, \u003c\/span\u003e\u003cb\u003eThe Scrambled Eggs\u003c\/b\u003e\u003cspan\u003e, he has since developed his unique electric bass skills in various groups and styles of music including collaborating with in groups such as \u003c\/span\u003e\u003cb\u003eKarkhana\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eCalamita\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eWormholes Electric\u003c\/b\u003e\u003cspan\u003e. Darbuka player Wassim Halal can be found with Polyphème playing and co-composing popular-contemporary music with \u003c\/span\u003e\u003cb\u003eGamelan Puspawarna\u003c\/b\u003e\u003cspan\u003e, or next to the French bagpiper \u003c\/span\u003e\u003cb\u003eErwan Keravec\u003c\/b\u003e\u003cspan\u003e, with performers and drawers \u003c\/span\u003e\u003cb\u003eBenjamin Efrati\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eDiego Verastegui\u003c\/b\u003e\u003cspan\u003e, with Gregory Dargent and Anil Eraslan in \u003c\/span\u003e\u003cb\u003eH\u003c\/b\u003e\u003cspan\u003e, or composing pieces for ensembles.\" - Sub Rosa\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Sub Rosa","offers":[{"title":"CD","offer_id":45895860486363,"sku":"","price":17.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":45895862649051,"sku":"","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/SR568CD_CU.jpg?v=1722020280"},{"product_id":"mx-80-sound-better-than-life","title":"MX-80 SOUND - Better Than Life","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"\u003c\/span\u003e\u003cb\u003eMX-80 Sound\u003c\/b\u003e\u003cspan\u003e are one of the foundational underground rock bands of the last half century. Formed in the university town of Bloomington IN in 1974, the original version came about when \u003c\/span\u003e\u003cb\u003eBruce Anderson\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eDale Sophiea\u003c\/b\u003e\u003cspan\u003e (from \u003c\/span\u003e\u003cb\u003eScreaming Gypsy Bandits\u003c\/b\u003e\u003cspan\u003e) teamed up with \u003c\/span\u003e\u003cb\u003eRich Stim\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eDave Mahoney\u003c\/b\u003e\u003cspan\u003e (from \u003c\/span\u003e\u003cb\u003eChinaboise\u003c\/b\u003e\u003cspan\u003e), adding another couple of drummers for extra confusion. Things fluxxed and mutated for a while. MX-80 played the Bloomington Public Library and rehearsed a lot. They opened for \u003c\/span\u003e\u003cb\u003ePatti Smith\u003c\/b\u003e\u003cspan\u003e, one drummer left and they recorded the great \u003c\/span\u003e\u003ci\u003eBig Hits\u003c\/i\u003e\u003cspan\u003e EP in '76 for local label BRBQ. Reviewed in \u003c\/span\u003e\u003ci\u003eSounds\u003c\/i\u003e\u003cspan\u003e by \u003c\/span\u003e\u003cb\u003eCarline Coons\u003c\/b\u003e\u003cspan\u003e, the EP got the band a deal by which UK Island licensed and released their equally great first album, \u003c\/span\u003e\u003ci\u003eHard Attack\u003c\/i\u003e\u003cspan\u003e, in '77. Another drummer left and MX-80 Sound moved to San Francisco, where they made a couple of amazing albums for the \u003c\/span\u003e\u003cb\u003eResidents\u003c\/b\u003e\u003cspan\u003e' label, Ralph. Drummers changed, but Anderson, Stim and Sophiea remained fairly constant, and together they created a signature sound featuring massive repeating guitar riffs, biting angular rhythms and casually surreal vocals. Over the years they all did their own things, but regularly rehearsed together as MX-80, at which point things generally coalesced into an easily identifiable (impossibly to categorize) style. As great as their live sets were, they didn't tour often, but every time I saw them they were superb. And the recordings that came from their regular meet-ups are as brilliant as they are idiosyncratic. \u003c\/span\u003e\u003ci\u003eBetter Than Life\u003c\/i\u003e\u003cspan\u003e was recorded shortly before the death of Bruce Anderson, which assures it will be the final MX-80 studio album, and it's a wonderful testament to how long you can keep creating fresh and vital avant rock music without ever making any goddamn money doing it. \u003c\/span\u003e\u003ci\u003eBetter Than Life\u003c\/i\u003e\u003cspan\u003e sounds great. Anderson's guitar is a huge as ever, Stim's movie-oriented lyric inventions and wry delivery are as weirdly dead pan as could be, Dael Sophiea's bass defines the urgent edges of the songs, and the other players -- guitarists \u003c\/span\u003e\u003cb\u003eJohn Moreman\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eJim Hrabetin\u003c\/b\u003e\u003cspan\u003e, bassist \u003c\/span\u003e\u003cb\u003eChris Xefos\u003c\/b\u003e\u003cspan\u003e, and drummer \u003c\/span\u003e\u003cb\u003eNico Sophiea\u003c\/b\u003e\u003cspan\u003e (son of Dale) -- are spot-on. Together, they create a lovely, complex and intelligent mix of the wildest avant-prog\/punk-rock hybrid you'll never hear again. As much as we'll miss MX-80 Sound, their legacy will live forever, and the crazy blend of elements they created with such unforced power should stand as a challenge to every new band that comes along. This album demonstrates it's indeed possible to create a unique sound for yourself with enough interior space you can explore its mysterious sonic corridors for almost 50 years. This should be enough to give us all hope, and we should offer thanks to MX-80 for creating such a fine and freaky aesthetic model. If more artists followed their path, we'd all live a much better world.\" --\u003c\/span\u003e\u003cb\u003eByron Coley\u003c\/b\u003e\u003cspan\u003e, 2024\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Feeding Tube","offers":[{"title":"LP","offer_id":45895861862619,"sku":"","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/FTR761LP_CU.jpg?v=1722020370"},{"product_id":"kmru-natur","title":"KMRU - Natur","description":"\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eWhen \u003c\/span\u003e\u003cb\u003eKMRU\u003c\/b\u003e\u003cspan\u003e relocated to Berlin from Nairobi, he was immediately fascinated by the German capital's relative silence. Back home, he was surrounded by sound: the omnipresent churr of birds and insects, the chatter of passers-by, and the electrical smog belched out by criss-crossing power lines and roaring transformers. In Berlin, this noise was muzzled; pedestrians wandered the streets with headphones in, barely communicating, while electrical cables were hidden away underground, and wildlife retreated from the imposing, concrete jungle. KMRU compares this observation with his visual experiences. Acclimatizing to life in Western Europe, he realized that night, a dusky blue-black lit up by streetlights and shops, offered little contrast with day. Nighttime in Kenya felt more tangible, somehow. After 6PM, when the sun sets, even the dim glow of a screen can dazzle the eyes, which must quickly adapt to the conditions. And as anyone who's closed their eyes while listening to music will know, the ears also adjust when visibility is impaired, enhancing even the tiniest sounds. So KMRU used this phenomenon to inform \u003c\/span\u003e\u003ci\u003eNatur\u003c\/i\u003e\u003cspan\u003e, a billowing long-form narrative that blurs the audible spectrum with an imperceptible sonic universe, contrasting cacophonous electromagnetic soundscapes with more familiar and grounding natural sounds. The piece was composed in 2022, and since then KMRU has made it a live staple, tweaking and reshaping it as he performed on tour with \u003c\/span\u003e\u003cb\u003eFennesz\u003c\/b\u003e\u003cspan\u003e, and with the \u003c\/span\u003e\u003cb\u003eLondon Contemporary Orchestra\u003c\/b\u003e\u003cspan\u003e at Southbank Centre. The experience allowed KMRU to sculpt not only the album's crucial dynamics, but its philosophy. \u003c\/span\u003e\u003ci\u003eNatur\u003c\/i\u003e\u003cspan\u003e is KMRU's most uncompromising work to date, crackling to life from dense clouds of static and intimidating, dissonant drones. Using electromagnetic microphones, he uncloaks the commotion hidden by the digital era's ambiguous stillness, juxtaposing roaring, mechanical growls with microscopic glitches and tranquil, electrical wails. When environmental recordings do appear, they're used as transitions between the thickets of harsh noise; sometimes hard to identify, they subconsciously remind the listener that behind the wall of sound there's a natural world in constant communication, continually adapting to the fluctuating ecosystem. KMRU sees \u003c\/span\u003e\u003ci\u003eNatur\u003c\/i\u003e\u003cspan\u003e as a way to reconsider what technology actually is and how it changes perceptions of reality. On \u003c\/span\u003e\u003ci\u003eNatur\u003c\/i\u003e\u003cspan\u003e, KMRU allows listeners to visualize a concealed landscape, one that's teeming with life and in dialog with mechanization.\" \u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Touch","offers":[{"title":"CD","offer_id":45895863304411,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/TONE085CD_CU.jpg?v=1722020546"},{"product_id":"mashabi-and-his-kelana-ria-orchestra-m-kafilah-nights-malay-arabic-variations-from-1960s-indonesia-copy","title":"MASHABI AND HIS KELANA RIA ORCHESTRA, M. - Kafilah Nights: Malay-Arabic Variations From 1960s Indonesia","description":"\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eIn the early 1960s, two of the best talents in the Indonesian music scene, songwriter and band leader \u003c\/span\u003e\u003cb\u003eAdi Karso\u003c\/b\u003e\u003cspan\u003e, known for his hits \"Papaya Cha-Cha-Cha\" and \"Balonku\" and Gambus musician \u003c\/span\u003e\u003cb\u003eMunif Bahasuan\u003c\/b\u003e\u003cspan\u003e teamed up to form \u003c\/span\u003e\u003cb\u003eOrkes Melayu\u003c\/b\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cb\u003eMalay Orchestra\u003c\/b\u003e\u003cspan\u003e) \u003c\/span\u003e\u003cb\u003eKelana Ria\u003c\/b\u003e\u003cspan\u003e. Between 1961 and 1964, Kelana Ria recorded 48 songs that were spread over four records, \u003c\/span\u003e\u003ci\u003eKafilah\u003c\/i\u003e\u003cspan\u003e, \u003c\/span\u003e\u003ci\u003eYam El Shamah\u003c\/i\u003e\u003cspan\u003e, \u003c\/span\u003e\u003ci\u003eYa Mahmud\u003c\/i\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003ci\u003eYa Hamidah\u003c\/i\u003e\u003cspan\u003e, which become the primary sources for this compilation. These four recordings changed the trajectory of Indonesian popular music. The songs and the soulful vocal performance belong to \u003c\/span\u003e\u003cb\u003eMuhamad Mashabi\u003c\/b\u003e\u003cspan\u003e, who despite the popularity of the songs he created is now largely forgotten, whose history was kept alive only in the neighborhood where he grew up in central Jakarta. With only a short musical career and only nine recorded songs from almost 40 compositions, Mashabi fell by the wayside in the early 1970s, especially with the rise of pop and rock from bands like \u003c\/span\u003e\u003cb\u003eKoes Plus\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003ePanbers\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eGod Bless\u003c\/b\u003e\u003cspan\u003e. Yet his songs, inspired by Malay traditional songs but performed in the modern studio setting, lay the foundations for what would become the biggest musical genre in the country, dangdut, especially the kind that was popularized by the self-styled king of the genre, \u003c\/span\u003e\u003cb\u003eRhoma Irama\u003c\/b\u003e\u003cspan\u003e.\u003c\/span\u003e\" - Elevation Records\u003c\/p\u003e\n\u003c!----\u003e","brand":"Elevation","offers":[{"title":"LP","offer_id":45911028105435,"sku":null,"price":33.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/ELE035CD_CU.jpg?v=1722020040"}],"url":"https:\/\/www.fusetronsound.com\/collections\/screenshots-email.oembed","provider":"fusetron","version":"1.0","type":"link"}