Batov Records celebrates ten years with a landmark compilation
Featuring Mulatu Astatke & Hoodna Orchestra, Sababa 5, Şatellites, Bolbec, Mamman Sani, MOMO., Wax Machine, Boom Pam, Ouzo Bazooka & Yurika Hanashima, Shotnez, and more.

More than a retrospective, 'Around The Sun' captures the sound of a label that has spent a decade connecting musical traditions, underground club culture and forward-thinking independent artists. From Mulatu Astatke & Hoodna Orchestra, to Sababa 5, Şatellites, Boom Pam, Bolbec and MOMO., every act featured has released an album on Batov, creating a collection that moves effortlessly between hypnotic Ethio-jazz, Anatolian psych, Mediterranean disco, cosmic grooves, contemporary jazz and border-crossing sounds from across the globe.

Across 23 tracks, 'Around The Sun' charts the evolution of a label that began in the world of psychedelic grooves and Middle Eastern-inspired sounds before expanding into contemporary jazz, Brazilian influences and exploratory instrumental music. While the artists originate from different countries, traditions and scenes, the collection reveals the thread that has connected Batov releases from the beginning: adventurous musicianship, powerful grooves and records built equally for dedicated listening and adventurous dancefloors.

TRACK LISTING

1. Mulatu Astatke & Hoodna Orchestra – Tension
2. Bolbec – À L'instar Du Flair
3. Eje Eje – Black Sea Majic (Autumn)
4. Sababa 5 – Lizarb
5. Shay Hazan – Remove the Talk
6. Moriah Plaza – Samba Moosh
7. MOMO. – Pára (feat. Jessica Lauren)
8. Wax Machine – All I Can Do
9. Şatellites – Big Baglama
10. Ouzo Bazooka Feat. Yurika Hanashima – I Dream Of Naomi - ナオミの夢
11. Romano – Fella Juicy
12. Sandman Project – Circles
13. Kolonel Djafaar – Movin'
14. Gypsy Hill – Balkan Beast
15. La Chooma – Huachuma
16. El Khat – Ptiha
17. Boom Pam – Juda
18.Chavo – Greek Disco
19. Shotnez – Last Straw
20. Mamman Sani & Tropikal Camel – Nomadic
21. SHIRAN – Al Ashuak
22. Muito Kaballa – Remedy
23. Hallouminati – Taximi Strut (prelude)

Following the international praise for their 2024 debut album 'Where Did You Go?', Sandman Project return with 'Hearts Forever', the first album entirely composed, arranged and produced by guitarist, composer and bandleader Tal Sandman. Rooted in psychedelic groove, Middle Eastern musicality, funk, jazz and desert rock, it is a record driven above all by a wider spiritual belief in music as a force for connection.

'If Where Did You Go?' introduced Sandman Project as a borderless, brass-heavy outfit with a cinematic sound, 'Hearts Forever' takes that vision somewhere more intimate and self-assured. Written following Tal's move from Jaffa to Leipzig, the album reflects a period of personal and creative transformation. Arriving in Germany without knowing whether she would find the right collaborators, she gradually assembled a new band through recommendations from fellow musicians, discovering a group capable of bringing her musical vision to life. For Tal, the music is not about drawing neat lines between styles or traditions. It is about taking inspiration from wherever it appears and reshaping it into something honest and alive. "If music touches my heart, it inspires me", she says. "So much music already exists, but what we are doing is creating something new out of inspiration. You take the ingredients and make a new thing".

That philosophy runs through 'Hearts Forever'. The album travels effortlessly between Middle Eastern melody, desert rock, Ethiopian modes, Afrobeat, funk, soul, jazz and psychedelia, never treating influences as destinations but as starting points for something entirely its own. Instead, the songs emerge as emotional landscapes, each growing from a melodic idea. "A melody comes into my heart or mind and I try to dig deeper into it", Tal explains. "I give attention to the ideas that come". That growing confidence also shaped the making of the album itself. After years of doubting whether she was ready to take full creative control, 'Hearts Forever' became the first Sandman Project record entirely composed, arranged and produced by Tal herself, with long-time collaborator Tomer Baruch returning as mixing engineer.

TRACK LISTING

1. Katara
2. Questions Answers
3. So Said The Stone
4. Hearts Forever
5. Abanadawe
6. Kishuf
7. Feelings Of Hope

Title track 'Tokyo Midnight' opens with a groovy guitar riff and continues into an upbeat rhythmic workout, complete with a funky bassline and ululating keyboards. Yurika’s enchanting voice ties things together in a soft yet hypnotic musical whirlwind.

On the B-side, 'Nasnusa', a beautiful guitar solo flows into a captivating rhythm inspired by traditional Mizrahi music. Yurika’s delicate vocals evoke a love story: a couple watches the sunset as the gates to a new world begin to open. As 'Nasnusa' fades into the light, her lover recalls her beauty and reflects fondly on the wonderful time they shared together.

Founded by Amir Sadot and Ilan Smilan, Sababa 5 have been playing together for two years and recently built their own recording studio. “We just wanted a place to record our music where the whole band could fit together in the same room… so we built the place ourselves! Mind you, there’s not a lot of space… in fact, we’re a bit crammed in there, but that’s how we like it.” Sababa 5’s musical style has been shaped by all its members and continues to evolve while always remaining deeply groove-centric. Their sound is rooted in surf rock and retro funk, drawing strong inspiration from Arabic folk and funk music of the ’60s and ’70s, as well as artists from that era such as the legendary Aris San.

Yurika is a Japanese performer born and raised in Tokyo. During her teenage years, she discovered belly dancing and quickly fell in love with the art form. She later travelled throughout the Middle East to deepen her studies, learning from choreographers such as Orly Portal and performing alongside renowned artists including Raquy Danziger, Boom Pam, and Ouzo Bazooka.

TRACK LISTING

1. Tokyo Midnight - 東京ミッドナイト
2. Nasnusa - ナスヌーサ

Sababa 5 continues their musical journey following the success of their acclaimed self-titled debut album, which fused deep funk and Middle Eastern grooves. Their latest offering, still under the Batov Records label, ventures into more explorative and experimental instrumental compositions. While evolving their musical direction, 'Aspan' delves into the realm of psychedelic rock while retaining the essence of the band's signature Middle Eastern groove.

In recent times, Sababa 5's talent has gained recognition on prominent French radio stations such as Radio Nova and FIP. Their tracks have become regular features on BBC Radio 6 Music, drawing the attention of notable figures and emerging talents like Gilles Peterson, Cerys Mathews, Jamz Supernova, Gideon Coe, and Deb Grant. Leading music publication "Songlines" has praised the band's "slick precision" and the captivating elements they infuse, ranging from "Moog synth licks" to "flavors reminiscent of Wes Montgomery-style guitar."

The album opens with 'Wembley', radiating a summery festival vibe. The track kicks off with a distinctive guitar riff that drew parallels to classic stadium rock, inspiring its name after London's iconic ninety-thousand-seat venue. The track evolves with prominent organ and bass riffs, culminating in a surprising addition of an electric saz—a recent Istanbul acquisition—imbuing a Turkish touch that echoes the Indian sitar's influence on 60s rock, notably bands like The Beatles.

'Fa Sol La' follows suit, named simply after its bass-led melody. The lively drumbeat and catchy riffs exude an upbeat energy that's bound to induce joyous reactions from listeners. Around the two-thirds mark, a dreamy guitar interlude elevates tension before easing into a shift towards a more progressive and rhythmic direction.

The title track, 'Aspan', takes its name from a nonexistent storm. The song impeccably showcases the band's cohesion, with guitar, bass, drums, and organ intricately locked into a mesmerizing groove. The origin of the title stems from a misinterpretation of an upcoming storm named Alpis that proved to be milder than anticipated. The name resonated, resulting in several tracks adopting storm-related titles.

Concluding the album is 'Indra', a laidback composition that stands as its most serene offering. This track's fusion of psychedelic folk rock is poised to capture the hearts of many, serving as a poignant postscript to the bittersweet conclusion of summer—a narrative of love discovered and lost.

The expansive and captivating soundscape of 'Aspan' is set to attract a fresh wave of fans while fortifying the group's mastery of substantial grooves with a distinct Middle Eastern essence. With appearances already on European festival stages, the year 2024 holds great promise for Sababa 5, marking a significant chapter in the band's journey.

TRACK LISTING

1. Wembley
2. Tri Li Li
3. Fa Sol La
4. Carmel
5. Aspan
6. Aeolus
7. Barbara
8. Alpis
9. Indra

Hill Collective strike out with 'Fire In Orbit', their first release for Batov Records and the Brighton ensemble’s most focused and expansive studio statement to date. Rooted in spiritual jazz but unafraid of the natural looseness, humour and raw edges that arise when imaginative musicians collaborate, 'Fire In Orbit' captures a band working collectively, instinctively and with space to breathe.

TRACK LISTING

1. A House Is A Home Like Honey
2. Fire In Orbit
3. Keep Breathing
4. Song For A Blossom Baby

The Bolbec duo return with their sophomore album 'Foutu Félin', a richly cinematic collection of instrumental music that unfolds like an imaginary soundtrack, melodic, tactile and transportive. The record is inspired as much by the cut-and-paste production techniques of Portishead and the Beastie Boys as by the legendary composers of le cinéma français and il cinema italiano.

Following directly from their debut 'Victime De L’aube', 'Foutu Félin' feels like a continuation rather than a departure, a second reel instead of a reset. Axel Concato and Barth Corbelet each wrote five pieces independently, deliberately exploring as instinctively and introspectively as possible before reshaping their embryonic ideas together into bigger, brighter compositions, uncovering hidden humour along the way.

Cinema remains Bolbec’s primary language. "We always think in movie scenes”,, they explain. Barth points to Alberto Iglesias as a key influence, while Axel draws inspiration from the melodic logic of film scores from the 60s to the 80s, where characters carried themes and melody mattered as much as atmosphere. In contrast to contemporary soundtrack trends that prioritise texture over tune, Bolbec consciously foreground melody, harmony and rhythm in search of a personal musical signature.

That philosophy extends to the album’s French language titles, which act as scene headings rather than explanations. Often playful and sometimes absurd, names such as ‘Café Frappé’, ‘Foutu Félin’ and ‘Le Prof de Gong’ sound like fragments of half-remembered films, inviting listeners to project their own narratives.

The album opens with ‘Café Frappé’, written in a single night by Axel. A clear nod to Morricone’s The Sicilian Clan, it also hints at French classical minimalism and the restrained tension of Portishead. Minimal at first, it expands through shifting orchestration as the same theme repeats, following a scene as it subtly evolves. ‘En Voiture’ plays like the opening shot of a road movie. Inspired by Ravel’s Boléro, it cycles patiently through two long themes, stretching repetition until it almost disappears. Classical structure drifts into jazz phrasing, with drummer Tim Giles sustaining its slow-burn momentum before flautist Gareth Lockrane improvises freely as the melody gradually falls away.

The title track ‘Foutu Félin’ leans into humour. Built around a buoyant walking bass, it imagines a feline character strutting somewhere between slapstick animation and jazz club swagger. The track subtly recalls the walking bass motif from the title piece of Victime De L’aube, reinforcing the sense that both albums inhabit the same cinematic universe.

‘Le Prof de Gong’ unfolds like a classic European score cue. Beginning as a simple guitar sketch, it grows into a richly layered waltz featuring banjo, piano, and wordless but melodic scat singing recalling the ethereal vocals of classic Piero Umiliani scores. A single melodic idea is reinterpreted across shifting moods, nodding to Morricone, Legrand and John Barry, in the process. Elsewhere, recurring characters and locations appear. ‘Fanny’ began life as a vocal-led piece and survived Bolbec’s original plan to avoid vocals entirely thanks to its fragile, Robert Wyatt-like charm. A second version, ‘Fanny au Phare’, reimagines the same figure by the sea, windswept and romantic, with a faint Wuthering Heights atmosphere. Barth’s vocal is initially replaced by a drunken, sax-like Juno synth, before giving way to Vincent Défossé’s more sober trumpet. In the final chapter, Ross Stanley’s piano riffs drift close to Tyner/Coltrane’s ‘My Favourite Things’, before twisting back around into the opening motif.

Much of 'Foutu Félin' was sketched at home before being taken to Fish Factory Studio in the UK, where musicians were encouraged to interpret and improvise freely. Performances were then carefully edited and reshaped, closer in spirit to cut-and-paste production than traditional jazz recording. Feel consistently took priority over technical perfection.

Returning players Tim Giles, Riaan Vosloo, Ross Stanley and Gareth Lockrane are joined by saxophonist James Allsop, whose contribution became a defining surprise, notably on ‘Ponto Final’. Additional recordings were completed in Rouen, with final mixes by Axel mastered by Sean Joseph in Bristol, whose sense of warmth and acoustic space helped shape the album’s sound.

Ultimately, 'Foutu Félin' confirms Bolbec’s identity. Music that feels like the beginning of a story. Less theatre, more cinema. Close your eyes, the film is already rolling.

TRACK LISTING

1. Machine Arrière
2. Café Frappé
3. En Voiture
4. Le Prof de Gong
5. Fanny
6. Fanny au Phare
7. Foutu Félin
8. Le Fou-Rire
9. Ponto Final
10. Terrassée

New Zealand-based producer ZHERAV announces his debut release, 'NAJA / BAZAAR', a double single and 45 on Batov’s Middle Eastern Grooves series. The record fuses psychedelic rock, hypnotic rhythms, and electronic production influences, creating a sound that moves between swung grooves and cinematic, reverb-soaked textures.

ZHERAV draws from his background in house and techno, layering live guitar, bass, and synths over programmed drums. “I had a production template for house music on Ableton” he explains, “and I thought about how to switch to this Middle Eastern sound using the same format”. Most of ZHERAV’s tracks developed through improvisation - starting with programmed drums, then experimenting around scales on instruments until something works. ZHERAV has already received support from independent radio in Australia and New Zealand, and encouragement from international artists like Ko Shin Moon.

Both tracks explore Middle Eastern scales, bringing a distinct flavour to the grooves, while maintaining ZHERAV’s signature hypnotic layered sound. ZHERAV had something in mind related to snakes and their charmers when creating the A-side, 'NAJA' (“Indian Cobra”). An ominous bassline loops repeatedly over snapping drums and percussion, whilst ZHERAV improvises guitar riffs and effects over the top.

The B-side, 'Bazaar', evokes the bustling, nocturnal imagery of a Middle Eastern market at night. Again, shaped organically through improvisation and analogue texture, but at a faster pace. Flutes and percussion introduce the song before a pulsating bassline leads the way.

Looking ahead, ZHERAV is exploring live/DJ hybrid sets and collaborations with local musicians. 'NAJA / BAZAAR' is the latest exciting edition to Batov’s Middle Eastern Groove series, promising to transport listeners into a world of rhythm, texture, and hypnotic instrumental storytelling.

TRACK LISTING

1. NAJA
2. BAZAAR

Kutiman joins Batov Records’ Middle Eastern Grooves Series with explosive double-sider

Batov Records is thrilled to announce the debut of pioneering producer, multi-instrumentalist, and multidisciplinary artist Kutiman on its highly collectable Middle Eastern Grooves 45s series. The release features two essential, souk-fuelled, psych-funk heaters: “Haraka” and “Khamsin”.

A prolific musical force, Kutiman delivers the goods on “Haraka” (“movement”), layering neck-snapping rock drums, irresistible psychedelic basslines, and haunting organ riffs, with microtonal-bending synths and tabla-inspired percussion.

On the B-side, “Khamsin” (“heatwave”) continues the trip with another heavy dose of Middle Eastern psych and funk, culminating in a blistering guitar solo in his signature Middle Eastern style by longtime collaborator Uri Brauner Kinrot (Ouzo Bazooka, Boom Pam), who also contributes beguilingly languid bass guitar riffs.

Both tracks showcase Kutiman’s distinctive ability to fuse regional traditions with modern grooves, marking a bold new addition to the label’s standout series.

Eje Eje, the orbiting side project of Şatellites founder and multi-instrumentalist Itamar Kluger, shares ‘Primordial Soup’, his second album on Batov Record, stirring an even wider pot of influences from East to West that defies genre.

Kluger first achieved international success with six–piece Turkish psychedelic rock evangelists, the Şatellites, whose enviable catalogue has won them support around the world, from KEXP in Seattle to BBC Radio 6 Music, and FIP in France.

Kluger launched his solo project, Eje Eje, with the 2023 ‘Five Seasons’ LP, playing the majority of instruments himself and refining his production chops. Kluger’s blend of traditional Mediterranean and Middle Eastern music with psych, funk, dub, and beat production, culminated in strong support from BBC Radio 6 Music, BBC Radio 2, and Songlines.

Much like its predecessor, ‘Primordial Soup' was largely self-recorded by Kluger, blending meticulous studio work, recalling DJ Shadow or early Four Tet, with raw, expressive performances - mainly himself on strings, bass guitar, percussion, and keys, including a new recently acquired microtonal keyboard - perfect for exploring Eastern musical scales, plus musical friends such as drummer Raz Man of Sababa 5, Şatellites and Project Gemini fame.

Taking its name from the scientific theory on the origins of life, ‘Primordial Soup’ is as much about sonic experimentation as it is a metaphor for existence itself. For Kluger, the title represents both a philosophical question and a creative mission. “‘Primordial Soup’ is a scientific theory about how life began - thick mixtures of organic matter that, with the sun’s energy, formed self-replicating systems”, Kluger explains. “I still feel sometimes we are just some kind of walking soup bound by a skin balloon”.

The album mirrors this idea in its fusion of disparate elements - a bubbling mix of Turkish percussion, psych guitars, dub textures, synths, drum machines, and Middle Eastern musical scales - forming a cohesive yet unpredictable whole. “This album is also a thick mixture of many things, a primal fusion of sounds that exist together only in my imagination, with a potential to come to life”. Kluger began work on 'Primordial Soup' in October 2023, though many ideas had been gestating long before. The process was shaped by both creative compulsion and emotional necessity: “It was a very hard time. Making this album felt like something I had to do to stay sane. I hope it came out banging like my heart did at that time”.

Album opener, 'Oyun Çorbası' is a playful fusion of Turkish folk and indie rock textures. Its title is a wordplay on Oyun Havaları (traditional dance tunes) and çorba (soup), reflecting the track’s mix of influences. A tight, marshy groove from drummer Raz Man drives the rhythm, while a phased baglama riff leads, layered with swirling keys into a hazy, cymbal-driven bridge. Drawing on the spirit of Ottoman-era dance music but twisted into something uniquely modern, with a Stone Roses meets Turkish folk twist.

'The Bride' is a collaboration between Eje Eje and rising flautist, percussionist and multi-instrumentalist Elad Kimhi. Inspired by Lebanese weddings, the track blends tradition with dancefloor energy. Known for his work with Firqat El Nur Orchestra, Sharif, among others, Kimhi brings a deep understanding of Mediterranean music, from Andalusian to Moroccan and Turkish. Middle Eastern synths fly across the funk driven groove, arguably like Omar Souleyman if he made boogie. Brighter in tone than much of the album, poppier but with a psychedelic twist, 'The Bride' was made with one thing in mind: parties. Similarly, the uptempo 'Puzmak' has a highly celebratory feeling and is set to wreak havoc on dancefloors and parties. Middle Eastern horns lead the track, but carried by heavy percussion, a solid bass groove, and subtle drum machine programming.

'Horrorizon', is heavy in almost every sense — dark, cinematic, and immersive. Relentless, languid drums, a hypnotic bassline, and harsh bouzouki textures create a foreboding atmosphere, evoking a deep sense of an ominous future. Think early DJ Shadow with a pile of Turkish psych wax. Kluger imagines it as a kind of “riding song” for “an old carriage wobbling its way down a muddy road into the unknown night”, recalling “the alertness in your guts that something isn’t right about where humanity is heading”.

From brooding cinematic rides to joyous wedding bangers, ‘Primordial Soup’ explores what it means to be alive, connected, and creative in turbulent times and cements Eje Eje as one of the most exciting voices fusing Middle Eastern traditions with cutting-edge beat culture. Whether on the dancefloor or in headphones, this is music that moves. 

TRACK LISTING

1. Oyun Çorbası
2. Dark De-Light
3. Houthiman
4. Baraca
5. The Bride (feat. Elad Kimchi)
6. Afternoon Glory (feat. Adam Balagan)
7. Horrorizon
8. Broken Reeds
9. Don't Ask (Rahbani Brothers Tribute)
10. Puzmak
11. Her Dad
12. Last Party Ever

Sababa 5 return with another essential 45 for Batov Records’ Middle Eastern Groove series. This time, they team up with two very different artists on two distinct tracks built from the same hypnotic groove: soulful Turkish alt-pop sensation Canay Doğan and reed flute specialist Itzhak Ventura.

After four albums and a strong run of 45s and EPs, plus support from tastemakers like Gilles Peterson, Cerys Matthews, Gideon Coe and Jeremy Sole, Sababa 5 lay down a cinematic, slow-burning groove built for hazy summer days. Raz Man’s crisp drumming locks in with Amir Sadot’s psych-soul bassline.

On 'Gaip', returning collaborator Canay Doğan brings her emotive and distinctive voice, turning the groove into a deep psychedelic soul cut. The feel recalls the kind of Turkish soul Leon Michels (El Michels Affair) has helped craft with Derya Yıldırım & Grup Şimşek. The title, borrowed from Arabic, refers to “the unseen” or “the unknown”. “This is our second time working with Canay”, say the band. “She brings bold energy, deep emotion, and a voice that really stands out in Turkish music”.

On the flip, 'Seher' takes the same groove somewhere else entirely, featuring the haunting tones of the ney – a reed flute found in Persian, Turkish, Jewish and Arabic music – played by Itzhak Ventura. 'Seher' means “dawn” in Turkish, and the track captures that quiet, mysterious moment before sunrise. “That feeling is deeply present in this track”, say the band, “stillness, awakening, and a touch of mystery”.

Though they share the same root groove, 'Gaip' and 'Seher' explore different moods and textures – two individual pieces that complement each other while standing firmly on their own. Another essential addition to the Sababa 5 catalogue.

TRACK LISTING

1. Sababa 5 & Canay Doğan - Gaip
2. Sababa 5 & Itzhak Ventura - Seher (Instrumental) 

Şatellites blast back into orbit on 'Aylar' delivering a bold evolution on the psychedelic folk-meets-groove sound they established on their acclaimed debut album.

Heavily influenced by the wave of psychedelic rock fused with traditional folk music that swept across Turkey in the 60s and 70s, Şatellites’ self-titled debut album received international acclaim. The record earned support from outlets such BBC Radio 6 Music and FIP in France, and were invited to record live sets for both Gilles Peterson’s Worldwide FM, and KEXP in Seattle.

After two years of touring, this cohesive and reinvigorated lineup entered the studio with renewed purpose and closer musical bonds. 'Aylar' (Turkish for “moons” or “months”) showcases more ambitious arrangements, extended compositions, intricate harmonies, and unexpected twists, reflecting the band’s commitment to innovation and their passion for the original wave of Turkish psychedelic music.

The album opener, 'Tisladi Mehmet Emmi' serves as a gateway to their expanded sound. This reimagining of a traditional Türkülern - a Turkish folk song by the prolific saz-playing singer-poet Aşık Ali Doğan - transforms it into a modern psychedelic funk masterpiece. Kluger’s saz and Mishali’s synths intertwine seamlessly, underpinned by Ariel Harrosh’s infectious basslines and Yaish’s dramatic drumming, all culminating in Rotem’s husky, emotive vocals. Lyrically, the track narrates two elderly men lamenting the state of the world—a timeless theme.

One of the album’s standout surprises, 'Midnight Sweat' reveals a darker, sultry side of the band. Rotem delivers a steamy late-night lullaby over a slinky disco-rock groove. Developed collaboratively, the track began as a sketch by bassist Ariel Harrosh, before Itamar added a melody and Rotem crafted lyrics in Turkish. The song tells a passionate love story, punctuated with sensual imagery.

'Hot Jazz' ventures into cinematic territory, as the band flexes their jazz and funk chops. The hard-hitting groove is destined to energise breakdancers. The bağlama and flute riffs, steeped in minor scales and modal nuances, infuse the track with a distinctive Middle Eastern character.

Elsewhere,' Aylar' delivers genre-bending highlights such as 'Gizli Ajan', which opens with a percussive intro reminiscent of the Incredible Bongo Band’s 'Bongolia'. This instrumental jam has become a live favorite. 'Yok Yok' reinterprets an Erkin Koray classic with a prog-tinged punk-rock flair, transitioning through four distinct sections before concluding with a rousing 9/8 Zeybek rhythm.

The album’s most ambitious cover is their cosmic folk-funk rendition of Hakki Bullut’s ballad 'Ikmiz Bir Fideniz' is followed by the original instrumental 'Beş Kardeş' ('Five Brothers'), a smoky, 5/4-time piece led by Itamar’s reverb-drenched bağlama.

The album closes with a dynamic duo: 'Zülüf Dökülmüs Yüze' a cosmodelic disco-fuzz take on a classic Türküler by Neşet Ertaş, and 'Zülüf B (Reprised)', which deconstructs and reassembles the groove. Starting with a foreboding proto-metal pace, the track builds to a dramatic, high-tempo finale.

If Şatellites’ self-titled debut laid the blueprint for their sound , 'Aylar' marks their transformation into a fully realised musical force.With this album, Şatellites step confidently out of the shadows of their Anatolian psych heroes to craft a modern yet timeless record, expanding their influences while deepening their connection to their roots.

TRACK LISTING

1. Tisladi Mehmet Emmi
2. Gizli Ajan
3. Midnight Sweat
4. Bak Gör
5. Yok Yok
6. Hot Jazz
7. Ikmiz Bir Fideniz
8. Beş Kardeş
9. Zülüf Dökülmüs Yüze
10. Zülüf B (Reprised)

Batov Records is thrilled to announce the release of ‘Middle Eastern Grooves’, a double gatefold LP compilation of standout tracks from the label’s highly successful series of 7” singles released under the same name, hand selected by label co-founder DJ Kobayashi. Spanning from 2015 to the present day, the compilation features a mix of classic favourites, new releases, and never- before-heard gems from some of the most talented emerging artists.

TRACK LISTING

1. Kutiman - Badawee
2. El Khat - Ya Raiyat (Radio Trip Edit)
3. Boom Pam - Uniton
4. Baharat - The Egyptian
5. Les Dynamites - Pop Oud #2
6. Sababa 5 & Shiran Tzfira - Manginat Mahapeha (feat. Matan Caspi)
7. Sababa 5 (feat. Yurika) - Nasnusa
8. Sababa 5 - Baksheesh
9. Eje Eje - Saved From The Jazz
10. Yossi Fine & Ben Aylon - Peres
11. Yuz - Galgalit
12. Baharat - Parsley Disco
13. Romano - Six
14. Buttering Trio - Little Goat (Iza Ktana)
15. Koy Kardeşler - Shürük
16. Şatellites - Deli Deli
17. Cherry Bandora – Esý