Hakuna Kulala Schallplatten & CDs

Review: Duma's Lord Spikeheart and serial collaborator Elvin Brandhi come totters for some mind-boggling left-of-centre sounds here on Drunken Love. These are unhinged sounds that feed the noise of bands like Napalm Death into an industrial grinder and come out even more demented no the other side. Core to it is Brandhi's unique vocal treatments which make use of a singular sampler technique and have been present throughout her work. Even the Francis Bacon-esque cover art is brilliantly grotesque yet alluring. Though not for the faint of heart, the is a fascinating record.

Review: Afrorack is a Ugandan producer whose self-built modular synthesis approach to making music has lent him much credo over the years, but perhaps none will lend him so much as The Afrorack, which comes as the latest and least deniable expression of his sound to date. Four tracks of traditional African rhythmatics merge with live sound synthesis and ghost-powered CV noodlings, producing an incredible foray into avant-garde electronics few could argue has ever been heard before. Whether it be caused by the trance-intoned 'Inspired' to the grit-covered 'Bass', Hakuna Kulala must be chuffed to have Afrorack form part of their catalogue, as his music is certainly among their best for representing the lesser-trodden and most criminally unsung corners of African electronic music.

Review: To say many sub-Saharan African countries are having musical moments right now completely disregards two things. Firstly, the way the music industry loves easy narratives, which often go someway towards masking the real truth of a story. In this case, our second point, the fact that every country on the planet has been having a musical moment for as long as we can remember, you just need to listen. Aunty Rayzor certainly represents the cream of a contemporary Nigerian crop, though. Alter-ego of Bisola Olungbenga, the artist began playing piano at the age of around nine, and clearly did not look back. This moniker is a culmination of the experience between then and now, combining hip-hop, Afrobeat r&b and experimental electronic sounds into a heady mix that's hard to define and impossible to put down.

Review: Yallah Gaudencia Mbidde was born in Kenya and raised in Uganda and has been a mainstay in the East African rap scene since first emerging in 1999. She mixes up rhymes in English with local languages Luganda, Luo and Kiswahili and has a poetic style that incudes experimental deliveries of her conscious lyrics. She has crept into the mainstream in Uganda and after her debut album in collaboration with Yallah and Berlin-based producer Debmaster she now offers the more charged-up Yallah Beibe. It is a prescient soundtrack to a changing era with trap, club, dancehall and club as well as industrial styles all mixed up.