Back catalogue: International

Review: Lebanese singer Pol Seif has linked with various European instrumentalists for this Molo Sayat project , which has its base camp around the Med. The band compose their material in Arabic, Italian and Romani languages and their first release on Zephyrus Records oozes a soul soothing calmness and plenty of colourful folk sounds. The musicianship is second to none as saxophone, clarinet, double bass and trumpets are all blended into one smooth and beautiful soundscape as Serf's voice adds another layer of magic. Whether jazzy and upbeat such as 'Kai Zhas Seka' or slow and mournful like 'Adame' these are all essential sounds.

Review: Vampi Soul's latest release is not a reissue, but rather a brand-new album of Peruvian chicha music - a kind of psychedelic, fuzz-fuelled sound that shares some sonic similarities to Cumbia, but also slightly more salsa-soaked rhythmic shuffle - played, performed and produced by self-styled "future cumbia" combo Money Chicha. It's a fantastic album of tropical psychedelia, with the Austin-based outfit - supplemented by a handful of legendary South American musicians - serving up brand-new compositions that sound like they were recorded in the golden era of chicha decades ago (think Santana style electric guitar solos, infectious Latin percussion, funk bass, flanged rhythm guitars and effervescent vocals). In our collective opinion, Chicha Summit is a genuine must-check release.

Review: In 1976 Anthony Howarth produced a documentary film about the Badabi tribe in Southern Iran. Each spring, this indigenous group would make the difficult journey across the Zagros mountains and valleys to ensure their sheep had new pastures to graze. Led by Jafar Qoli, the movie chronicles this epic trek and various events along the way. Taking breathers only for weddings and mediation between contacts, and grappling with torrential rain and perilous terrain, among other challenges, it's an inspiring odyssey to say the least. The music fits the bill perfectly, bringing together the legendary Persian songwriter, editor and singer Shush? Guppy and revered English singer, composer and multi-instrumentalist Gerald Thomas Moore, transporting us to a time, place and people long-since committed to memory.

Review: You might know Airto Moreira and Flora Purim as the King and Queen of Brazilian Jazz and for good reason. They have spent more than the last half decade putting out some of their homeland's finest and most richly rewarding jazz albums as well as playing exhilarating live shows all over the world. They have found favour with jazz lovers everywhere as a result, from Japan's concert halls to the UK's jazz-funk scenes. If You Will was their last album back in 2022 and it got a Grammy, and now A Celebration: 60 Years - Sounds, Dreams & Other Stories brings together some of their best work from over the last 60 odd years. Essential stuff.

Review: Dora Morelenbaum is a fast-rising star in Brazil's new music wave and a member of the Latin Grammy-winning band Bala Desejo and Pique is her stunning new debut solo album. It comes after the early success of her first EP, 'Vento de Beirada', and sees Dora soar to new heights as a bold and elegant artist. The album blends aspects of funk, MPB, disco, soul, and jazz with an indie pop flair and has been co-produced by Ana Frango Eletrico. The tracks feature plenty of classy and sophisticated arrangements as well as a number of groovy basslines and intricate production flourishes. Across them all, Pique bridges Brazil's musical past and present and also calls upon contributions from fellow musicians and family members to help make it a standout in the contemporary Brazilian music landscape.

Review: Pique is the remarkable debut solo album from Dora Morelenbaum, a key figure in Brazil's burgeoning music scene and a member of the talented band Bala Desejo. Following her initial EP Vento de Beirada, Pique marks Dora's ascent as a significant solo artist, blending boldness with grace, bridging Brazil's musical heritage with contemporary grooves, incorporating funk, MPB, disco, soul, r&b and jazz, all infused with an indie pop sensibility thanks to co-producer Ana Frango Eletrico. Opening with the sun-kissed 'Nao Vou Te Esquecer,' Pique transitions into the infectious funk of 'Venha Comigo' and 'Sim, Nao.' Tracks like 'A Melhor Saida' and 'Petricor' offer a more relaxed, introspective vibe, while 'VW Blue' showcases virtuosic jazz-funk, and the title track delivers radiant MPB. The drumming is crisp and swung, the horns and strings are meticulously arranged, and the basslines groove with a funky energy, complemented by strutting guitars and vibrant production flourishes. Dora's hands-on approach to the albumifrom songwriting to arranging and producingiensures a cohesive vision. Supported by a talented ensemble, including her Bala Desejo bandmates and her renowned parents, Paula and Jaques Morelenbaum, Pique merges tradition with modernity. An endlessly listenable album, poised to become a future Brazilian classic, blending the spirit of legends like Gal Costa with a fresh, innovative edge.

Review: For their first full-length reissue, Canopy Records brings new life to Oppressor, a rare 1987 album by Nigerian artist Myke Moul. Long a cult favourite due to its genre-blending style and hard-to-find status, this remastered edition corrects past audio issues and gives the album the sound quality it always deserved. From the opening notes of the title track, Oppressor sets a tone that's both breezy and politically aware, a mid-tempo groove riding on synth-reggae rhythms with a soulful message woven in. The album, shaped in part by reggae icon Majek Fashek and later reimagined in France with a roster of versatile session players, stands out for its seamless mix of styles: island-leaning reggae, glossy boogie, and moments that feel like they could have soundtracked a Mediterranean sunset. "Shadows in the Rain" dips into an 80s synth-funk groove, while "Heading for the Top" is a shimmering, bass-forward boogie cut, setting the tone for a collection that flits back and forth between reggae, funk and boogie.

Review: Brighton based record label, publishers, cinematographers and legendary former London record store Mr Bongo present the first installment in their new 'Mr Bongo Record Club' compilation series. It features, in their words "a selection of favourites, recent discoveries and sought after obscurities, which form the basis of our DJ sets and our radio show of the same name." There really is some great music on here that has been sourced from all corners of the globe and as much as they're oldies: they certainly are goodies. Our favourites weren't limited to: Brazilian duo Lemos E Debetio's charming "Morro Do Barraco Sem Agua", the African funk explosion of Lantei's "Fish & Funjee (Komi Ke Kenam)" and some truly hot reggae vibes in the form of Big Youth's 1977 unclassic "Mammy Hot Daddy Cool" among many others on this fine compilation.

Review: Mustafa's masterfully crafted new debut album is called Dunya which translates from Arabic to "the world in all its flaws." The Sudanese-Canadian artist digs deep into religious devotion, childhood trauma, gang violence and romantic intimacy in hugely personal ways throughout the record and showcases his superb songwriting ability. His blend of genres from hip-hop to soul and r&b comes with novelistic details, lasting hooks and raw and earnest words. It features appearances from collaborators such as Aaron Dessner, Rosali?a, Clairo and Nicolas Jaar but amongst all that Mustafa's confident, distinctive voice shines bright.

Review: Kampala's Nyege Nyege is no longer a niche name in electronic music, having risen to become Africa's most prominent stable for experimental synthesised tracks, carving out not necessarily a sound - artists and albums vary pretty wildly - but a kind of aesthetic which, once recognised, can usually be identified in most output. Of course, there's a problem there, with so much light now being shone on Uganda and the label itself, meaning so much else is missed from nearby countries, let alone this vast continent. Nevertheless, all that attention is not without good reason, and this collaboration between Durban, South Africa-based gqom futurists Phelimuncasi and abstract sound system crew Metal Preyers is a case in point. At once rooted in authentic African dance genres, and yet staunchly determined to reconfigure them, it's pretty much unlike anything you'll hear this week/month/year.

Review: Anoushka Shankar, the renowned British-Indian-American sitar player, producer, and composer, shares her first live album since 2001's Live At Carnegie Hall. Between Us... marks her debut with the German label Leiter, featuring material from four solo albums and one previously unreleased track. This album has Shankar's collaborative spirit in full glory, beginning from her early performances alongside her father, Ravi Shankar. Between Us... features Shankar's regular collaborator, Manu Delago, a master of the Hang (hand pan), and Holland's Metropole Orkest, directed by the esteemed conductor and arranger Jules Buckley. Recorded in 2018 during a short series of shows in the Netherlands, the album captures the vibrant energy and synergy of these performances. Shankar fondly recalls the concerts, highlighting the unique experience of performing with an orchestra where the audience's energy was palpable. This dynamic interaction brought a fresh and fun element to the orchestral setting. The album offers listeners a glimpse into a harmonious and exhilarating musical world.

Review:  Waaju & Majid Bekkas's Alouane exemplifies the power of collaboration during challenging times. As bringing overseas artists to the UK grows increasingly difficult, this record bridges cultural and generational gaps while capturing the vibrant energy of live collaboration post-Covid-19. Conceived by Waaju bandleader Ben Brown, the album features his expansive arrangements of traditional Gnawa songs and blends Bekkas' musical prowess with Waaju's signature grooves and trippy delays. Bekkas, a key figure in Moroccan Gnawa music, had never collaborated with a UK band until this project. Alouane, meaning "colours" in Arabic, reflects the seven integral colours of Gnawa music, each invoking different spirits.