LP

Musilogue has been pursuing a new sound by various combinations of musicians. A collaborative project called “Hizuru” which uses Japanese traditional instruments and is the project of Ryota Nozaki (Jazztronik), who is the centre of Musilogue. Hizuru has made an album with 9 musicians who play instruments including shakuhachi, koto and shamisen. They show the possibility of a new style of music on it.Originally released October 25, 2017

Fourteen mindblowing Cumbia masterpieces – many of which have never seen wide release outside the Amazonian region. Comes in a gatefold cover pressed on 180g vinyl and includes a beautiful LP-size poster.If you travel up the Amazon, past the city of Manaus and past the Brasilian/Peruvian border, you will eventually reach the city of Iquitos. It was here that Werner Herzog filmed Fitzcarraldo, the visionary epic of one man's struggle to drag a ship over a mountain; and it was here, in a city completely cut off from the Peruvian coast, accessible only by air and water, and surrounded by impenetrable forests, that a new, distinctly Amazonian style of Cumbia emerged in the early 1970s.One of the style's greatest practitioners was Raúl Llerena Vásquez – known to the world as Ranil – is a Peruvian singer, bandleader, record-label entrepreneur and larger-than-life personality who swirled the teeming buzz of the Amazonian jungle, the unstoppable rhythms of Colombian and Brazilian dance music, and the psychedelic electricity of guitar-driven rock-and-roll into a knock-out, party-starting concoction. It's cumbia alright, but you've never heard cumbia quite like this before.Ranil's music came into being far from Lima, the Peruvian capital, where Cuban-style big band and guitar waltzes vied for popular supremacy. On the distant banks of the Amazon, where Ranil spent the early years of his adulthood working as a schoolteacher, the air was full of the criollo waltzes of his youth, carimbó rhythms from nearby Brasil and crackly broadcasts of cumbia from Colombia picked up on transistor radios.When Ranil returned to Iquitos after several years teaching in small towns, he assembled a group of musicians and prepared to take the city's nightlife by storm. His unique blend of galloping rhythms and trebly, reverberant guitar was so successful that he was soon able to take his band to Lima to record their first record at MAG studios, where many of Peru's most successful psych, rock and salsa bands began their recording careers.Yet Ranil had no intention of entering into the indentured servitude that comes with signing one's life away to a record company. Instead he established Produccions Llerena – possibly the first record label founded in the Peruvian Amazon – which allowed him to maintain complete control over the release and distribution of his music. His fearsome negotiation skills and his insistence on organising his own tours turned him into one of the central figures of the Amazonian music scene.Although his records were popular throughout the region, Ranil never sought his fortune in the capital, preferring to remain in his hometown of Iquitos where, in recent decades, he has concentrated his considerable energies on his radio and television stations, and become involved with local civic politics. Yet his legacy has continued to grow among those fortunate enough to track down copies of his legendary – and legendarily difficult to find – LPs.Ranil's extraordinary output has remained one of the best kept secrets among collectors of cumbia and psychedelic Latin sounds.With the release of Ranil y su Conjunto Tropicalit is a secret no longer. Assembled by Analog Africa founder Samy Ben Redjeb from original LPs sourced from Ranil himself, this fully-licenced compilation presents 14 tracks – many of which have never seen wide release outside the Amazonian region – by a singular artist at the very height of his considerable powers. Prepare yourself for a guitar groove you won't soon forget.

Included a printed inner sleeve with liner notes and a second, separate insert.After Uzelli released its Psychedelic Anadolu selection in 2017, we began working on this second album with our dear friend Osman Murat Ertel. When we opened up this archive to Murat, a lover, aficionado and player of the electric saz, we supposed that he would make a selection under that title. But multifaceted artist that he is, Murat went far beyond merely making a selection, and took on the project in its entirety. His wife Esma, who had contributed her energy and experience from the beginning, handled every detail. I consider this album evidence of the magic these very special people possess. This album is a selection of performances on the electric saz, an instrument that some hold in contempt. Simple, calm and dignified villagers, forced to leave their villages behind, carried the saz to new lands. As they called out to the crowd of fellow exiles and struggled to adapt to a new way of life, their traditional acoustic saz transformed into the electric saz and rang out with a new and different urban sound. It is our hope that this compilation will inspire a new group of musical explorers. Metin Uzelli About the Label: Uzelli Kaset was established in 1971 by Muammer and Yavuz Uzelli in Frankfurt, Germany. Their music resonated not only with the longing that Gastarbeiter (guest workers) felt for the homelands and families they had left behind and the melancholy brought by their difficult living and working conditions in Germany, but also with the joy that welled up at village weddings on their days off, and the long car or train journeys home. Reaching the remotest corners of Germany as well as Turkey, Uzelli Kaset was soon more than just a music company; it became a companion to Turkish workers living far from home. Not counting the handful of 8-track tapes and 14 LPs released in the early days, the catalog consisted entirely of cassettes. When they opened their Istanbul office in 1977, Uzelli moved beyond production and became successful in the areas of reproduction, distribution and marketing. Taking the catalogs of other production companies under its umbrella, it continued its rapid growth. The 90s became the CD decade, and because Uzelli Kaset had not released its catalog in CD format, hundreds of albums remained unavailable to an entire new generation. Because the albums had not been released in LP form either, musical explorers ran into the same problem. Remaining active and serving in various areas of the music industry, Uzelli carefully preserved its visual, audio and document archives, ensuring their survival to the present day. After an immense amount of work, this catalog, which had long awaited discovery by new generations, was finally released in digital format. For record collectors seeking the spirit of those times, we also began offering this special selection of compilation albums in vinyl format. As we created this series, our goal was to guide listeners toward new discoveries, and open new pages for music lovers to explore. Leaving our rich, multifaceted catalog to genuine musicians, curators and artists, our desire became to approach the recordings of that period from a different perspective. We are overjoyed to know that our continuing meticulous work will bear fruits whose taste and aroma have been long forgotten. Uzelli