Back catalogue: Psych/Garage Rock

Review: Dogo du Togo & The Alagaa Beat Band bring a unique sound to West African music that blends psychedelic rock, traditional Togolese rhythms, voodoo-inspired melodies and infectious dance grooves. Led by Dogo, who dubs their style 'Alagaa Trance,' the band's music weaves hypnotic layers and vibrant beats that are both captivating and energising. Their much-anticipated album, Avoude, captures this powerful fusion and is set for release in November on the We Are Busy Bodies label and promises to transport you into a new world with its mix of cultural depth and rhythmic intensity.

Review: Ekoya is the fourth album from Jupiter & Okwess and it marks a new chapter in their sound as they embrace Congolese funk, rock, Afropop and Latin influences. This record was conceived during a South American tour and recorded in Mexico so reflects a cross-cultural fusion that's deeply rooted in African history and features collaborations with artists like Flavia Coelho and Mare Advertencia. Along the way, the music tackles themes of change, resilience and the global challenges we face so tracks like 'Selele' and 'Orgillo' fuse political commentary with big rhythms. Through a great mix of languages, rich instrumentation and powerful messages, Ekoya is a wonderfully worldly celebration.

Review: Audibly energised by their global tour following the drop of 2021's breakout record 'Afrique Victime', Mdou Moctar and band return with an album of psychedelic assouf centring around themes of global unrest. Moctar's guitar sounds more frazzled and warm than ever, and the ever-cleaner production only serves to highlight the dazzling musicianship of his band. Quickly amassing an impressive and diverse discography of Tuareg rock heaters, Mdou Moctar further cements his reputation as the Nigerien Hendrix.

Review: From their low-key discovery through the Sahel Sounds label via a leap to Third Man and now on to Matador, the rise and rise of Mdou Moctar has been a marvel to behold, albeit not exactly surprising. Led by Mahamadou Souleymane but now framed as a quartet, their Tuareg desert blues sound has a sharper bite than similarly popular acts like Tinariwen which responds very well to a bigger production. Long time fans fear not, the spark of Souleymayne's songwriting and playing is intact, but there's a vibrancy to tracks like 'Imouhar' and 'Funeral For Justice' as they play with dynamics and tension which bring an exciting new dimension to desert blues.

Review: Paul Ngozi's 99% Confusion represents a powerful chapter in the history of Zamrock, a vibrant music scene that emerged in 1970s Zambia. This late-period hard rock and proto-punk album, featuring drummer Chrissy Zebby Tembo, shows Ngozi's enduring influence in the Zamrock movement. The LP comes with an oversized eight-page booklet filled with rare photographs, a detailed discography, and insightful annotations, providing a deeper understanding of Ngozi's musical journey. Zamrock itself was a unique fusion, blending fuzz-driven psychedelia, raw garage rock, and energetic funk with traditional African rhythms. This distinctive sound, cultivated by bands like Musi O Tunya, Amanaz, and Ngozi Family, stood apart from anything else on the African continent. 99% Confusion, released under license from Paul Nyirongo's estate, is part of Now-Again's ongoing effort to preserve and reissue these vital records. This album continues to showcase Ngozi's pivotal role in shaping the Zamrock legacy.

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: This timely reissue of Zamrock's Afro-prog-psychedelic masterpiece makes its debut on vibrant yellow vinyl. WITCH was a group influenced by James Brown, the Stones, and Deep Purple and they dominated 70s Zamrock stages in their heyday. Their musical journey spanned only five years and culminated in the fifth and final rock album, which predated a split and a new disco venture in Zimbabwe. The record fuses traditional Zambian rhythms and folk melodies with progressive rock and, somewhat echoing Lukombo Vibes, it embodies the Osibas' "afro-rock" style. This release encapsulates WITCH's evolution and influence and gives a vivid glimpse into the era's musical fusion and cultural resonance.