International

Review: BaBa ZuLa, Istanbul's most experimental band, continues to push the boundaries of Turkish psych-rock. Known for their hypnotic blend of Turkish percussion, electric saz, and electronic elements, they've gained a cult following across the globe. With influences from legends like Einsturzende Neubauten and Can, their latest album Istanbul Sokaklari is a sonic and political statement. Combining deep rhythms, glitchy electronics and dual male-female vocals, BaBa ZuLa's music transports listeners into a world where tradition meets modernity, offering a glimpse into both the future and the heart of Istanbul's streets.

Review: Blending hi-NRG and Latin cumbia, Combo Chimbita present a brand new single for Wonderwheel Recordings, 'Dimelo'. Described as an internal dialogue - a sonic representation of what it feels and sounds like to choose yourself - the refrain "Cuando por fin yo me elegi" is heard repeatedly throughout the track, as self-selection is maximised, contra the impossibility of saving others before oneself. The band's Carolina Oliveros says of the song, "however much you love someone, you can't force them to love yourself in the same way - that is love you have to give yourself." The Busy Twist remixes the idea, self-caring through salvos of oily guitar and toe-tapping woodblock shot, hitting like a health kick.

Review: Nigerian singer, songwriter, and guitar legend, Mdou Moctar should need no introduction if you keep an ear to the ground of sub-Saharan African music. Then again, the vague region covers a vast area - land in all four hemispheres and around 15% of the Earth's walkable surface. So you could be forgiven for missing out on an individual artist if, for example, you weren't already looking for them specifically. Or relied on Western culture media for tips on what to hear next. That said, problematically tunnel-visioned as the North Atlantic-hegemony of commentators can be, Moctar has been something of a darling to UK, European and US musos for a while now. On Tears of Injustice he presents a convincing case for their continued adoration. A master of Tuareg, a style of music also known as desert blues, it's an intoxicating sound that easily transports and invokes, even if the predominantly Tamasheq language he sings in remains a mystery - arguably another factor in the powerful mythology surrounding his legacy.

Review: Mdou Moctar's reimagining of his work presents a powerful counterpoint to the blistering original. Recorded in the wake of a political crisis that left the band stranded in the US, this acoustic version strips back the aggression, replacing it with raw grief. The band, recording in Brooklyn's Bunker Studio, brings a new, meditative quality to the music, with the songs remaining heavy but haunting in their unamplified form. The standout 'Imouhar' takes shape through two rapid-fire passes, seamlessly merged into one hypnotic take. Where the original album burned with anger, this version captures the sadness and sorrow of a nation caught in perpetual turmoil.

Review: The Pambele band's debut album blends Afro-Colombian influences taken from their shared heritage with the vivid sounds of 60s psychedelic rock. It's a work rich in "Caribbean creolisation" with traditional Colombian percussion, joyful, rhythmic vocals and intricate guitar melodies all underpinned with wild organ tones. This powerful cross-fertilisation creates a transatlantic but also distinctly Caribbean sound that draws you into a world of exuberant musical atmosphere. The tunes often get you into a trance-like state while combining raw improvisation and dancey rhythms. It's an authentic escape to a very distant part of the world but one with a universal sense of rhythm that cannot be escaped.

Review: Released in 1977, this Nigerian rock album remains a hidden gem, rediscovered by a new generation thanks to recent reissues. Produced by Odion Iruoje, the album features a group of college students whose music captures the vibrant, post-civil war Nigerian rock scene. With a sound that blends Western rock influences like The Beatles, Buffalo Springfield and early Genesis with a distinct African touch, the album is a joyful yet melancholic exploration of love and harmony. Tracks like 'Love', 'Be Nice to the People' and 'Mary Enne' showcase the band's signature blend of fuzz guitar and heartfelt vocals. The music resonates with the exuberance of other African bands like Blo and Witch, yet it stands out with its heavy fuzz guitar and English vocals, steering clear of political or social activism in favor of pure, emotional expression. This album, recorded in Kenya, captures a moment in history when African rock was evolving, bridging cultures and sounds. It's a timeless piece, equally nostalgic, fresh and perfect entry point into African psychedelia for new listeners and a rewarding revisit for those already familiar with the genre.

Review: Fourth Wave reissue one of the great works of Japanese composer, keyboardist and producer Hiroshi Sato. Forming part of a fresh flood of reissues that the label have explicitly mandated, Sato's are highlights among a discrete period of exquisitely recorded and visually designed LPs from the late 70s and early 80s. With a sleekly surreal cover artwork by Tadanori Yokoo - psych rock's pastiching answer to Vaughan Oliver - Sato brought chilled finger-flair to his various recorded synth patches, electric pianos, chamber brasses and guitars, all of which are recorded to produce a precise, razored sound in xpander-funk. Something latent - something much more - than mere smooth AOR is conveyed here. Perhaps it can be focalised in the LP's aura of effortless, disengaged mellowness, as if good comportment and style is an inevitability of life in cosmopolitan 80s Tokyo.

Review: With their fourth album, the celebrated rock group from northern Mali, take a bold step forward, evolving their signature "desert blues" style into a more acoustic, introspective sound. Recorded in Bamako with producer Paul Chandler, the album blends the band's gritty, electrifying energy with traditional Malian influences, incorporating instruments and melodies from various ethnic traditions. The result is a vibrant, collaborative work that features contributions from renowned artists like Afel Bocoum, Rokia Kone and Neba Solo. Tracks like 'Issa', which translates to 'river', demonstrate the group's deeper exploration of acoustic textures and storytelling, drawing on the power of nature and migration. The song's early delta blues-inspired guitar riffs complement the band's passionate vocals. The band's ability to honour their cultural roots while embracing new musical horizons really shows well here. The album is both a celebration of their heritage and a bold look towards the future, marking another remarkable chapter in Songhoy Blues' already impressive catalogue.