In 1982, Mohinder Kaur Bhamra, a devotional artist of Sikh heritage based in London, embarked on an extraordinary musical venture. Collaborating with her son Kuljit, who utilized an early Roland synthesizer and drum machine, they crafted nine tracks that blended conventional Punjabi folk singing with vibrant electronic rhythms, disco-inspired basslines, and lively synth melodies. The album named Punjabi Disco was initially limited to just 500 copies at its launch; it puzzled listeners from the diaspora who were more familiar with the robust sounds of bhangra. Over time, rare vinyl editions have appeared on resale sites; however, thanks to Kuljit’s recent rediscovery of the original master tapes, this distinctive album is now available to a wider audience for the first time.
The opening track “Disco Wich Aa” establishes a lively atmosphere with its electronic toms and shaking percussion that gradually evolve into an irresistible groove layered over siren-like synth lines before Mohinder’s soaring falsetto beckons listeners to join in the festivity. Her vocal delivery employs melismatic techniques characteristic of Indian classical music—demonstrating her remarkable range as she effortlessly glides over rapid disco bass in “Nainan Da Pyar De Gaya,” elongates notes alongside bossa nova beats in “Soniya Mukh tera,” and delivers commanding declarations on the driving rhythm of “Ve Tu Jaldi Jaldi Aa.”
Kuljit’s production approach may occasionally seem raw; he employs relentless looping patterns from drum machines interspersed with sharp synthesizer bursts. However, this contrast between gritty instrumentation and Mohinder’s warm vocals creates a captivating dynamic that fuses danceable beats with heartfelt melodies. This synergy is notably evident in “Pyar Mainu Kar,” where synthesizers echo traditional Punjabi folk tunes typically played on harmoniums against energetic disco basslines while electronic toms mimic tabla rhythms alongside Mohinder’s ethereal voice—a precursor to what would later flourish during the Asian underground music scene.
Fresh Releases This Month
This month also marks a collaboration between two generations of Zulu guitarists launching their debut album titled kwaNTU, featuring Madala Kunene alongside Sibusile Xaba. The album weaves together intricate finger-picked melodies enriched by Kunene’s deep vocals paired with rhythmic hand percussion elements. Additionally, following Amadou’s passing earlier this year in April, his final project with Mariam entitled L’Amour à la Folie (Because Music), serves as a poignant tribute showcasing their lasting musical connection through signature harmonies found in tracks like “Sonfo,” while highlighting amadou’s gritty bluesy guitar work on “Nakan.” Furthermore, there is also a retrospective collection honoring Kenyan benga music pioneer Joseph Kamaru. Curated by his grandson KMRU under the title Heavy Aggregate (Disciples), it features Kamaru’s infectious blend of ’70s funk infused with soulful local vocals along highlife guitar riffs—truly an East African gem.