Review: Italian duo Nu Guinea has previously proved adept at creating humid, sultry deep house and tropical-infused electronics. Here, they focus a little more on the latter with a concept album based around the distinctive Afrobeat rhythms of legendary drummer Tony Allen. With his blessing, and that of the Comet label on which he's been releasing since the 1980s, the Early Sounds Recordings pair has cut-up and re-constructed Allen's drums, combining them with their own steamy electronics, vintage synthesizer lines and classic drum machines. It's an intoxicating and hugely entertaining blend that sits somewhere between their previous outings, Danny Wolfers' material under the Nacho Patrol guise, and the dreamy late '80s/early '90s work of forgotten Italian producer Mr Marvin.
Review: A veritable French fusion institution; classically trained Cameroon musician Eko Roosevelt Louis was responsible for a catalogue of exciting jazz funk, disco and afrofunk records throughout the 70s and remained active touring Europe until the 90s when he returned to Cameroon to inherit the role as tribal chieftain from his grandfather. Released in 1979, Funky Disco Music was his third album and packs some of his most powerful compositions. The triumphant title track says it all; laidback, charming and full of positivity it sets the scene for the whole trip. Highlights include the rock-tinged soul chugger "Une Chanson Sans Paroles", the highlife uplift of "Doi Da Manga" and the smouldering showstopper finale "Emen Ango". Dig deep and enjoy... Africa Seven promise more Eko reissues in the near future.
Wartilla (feat Warren Ellis, Stephen O'Malley) (4:08)
Lalla (6:19)
Review: Malian musicians have a rich history when it comes to turning the world on to organic, mystifying, exotic sounds. A country that - even for Africa - stands out as a hotbed of aural talent, artists hailing from the desert nation never fail to immerse and intoxicate us. Here tracks grow and groove like a hypnotist at work, embracing Western influences, not least psychedelic rock, to produce what might have happened if Jim Morrison went walkabout in the Sahara looking for inspiration. As an album, "Amadjar" is everything that description might make you hope for. Opening on the delicate, spatial guitar plucks of "Tenere Maloulat", you can see the oasis shimmering in the distance through heat vapour. Evocative stuff, from there it only pulls us in deeper into an amalgamation of sounds overflowing with an adventurous atmosphere.
Review: Sao Paulo artist and About Disco label head Rafael Cancian once played Motor City Wine party in its native Detroit and was thought to hail from the city itself so synonymous was his sound with what the locals expected. As such he now steps up to Hot Pot with a new pair of edits starting with 'Heaven.' It's a fulsome cosmic disco stepper with low sling drums and plenty of shiny synths as well as soothing vocal coos that help take you to ecstasy. Flip it over and you will find 'Nigeriac' which is a syncopated mix of Afro funk and rock to shake your bones loose.
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: The resurgence of interest in vinyl has brought with it plenty of spotlight for niche acts like Tinariwen. The Mali-based desert blues specialists are now frequently found on the playlist of eclectic Das and NTS radio hosts, and so they should be. This new album is actually an old one - Kel Tinariwen is an early cassette tape recorded in the 90s that has not been released before. It hones in on the political issues of the time and is a raw sound compared to how Tinariwen went on to sound, but still has all the hypnotic guitar lines and call-and-response vocals that make it distinctly them. Add in raw drum machine rhythms and keyboard melodies and you have an alluring and Arab-tinged take on synth-pop that really gets you where it hurts.
Review: Musician, painter, sculptor and ceramist Henri Guedon was known affectionately as the grandfather of modern music from the French Antilles. His standout album angst more than a dozen was 1975's Karma. An OG copy is hard to find and pricey when you do, so thankfully Outre National Records have secured the rights to this limited edition and remastered reissue. It is an impossibly lively fusion of soul, funk and world, jazz-rock and reggae, Afro-Cuban rhythms and indigenous African sounds like beguine and gwo ka. Guedon's vocals ride over all the many bristling drum and instrumental tracks to make for a real carnival sound.
Review: Immanuel 'Immy' Kwabena Dreessens-Owusu is based in Torquay but is of Ghanaian-Dutch heritage. His musical upbringing straddled the worlds of rock'n'roll and the West African culture of his roots. His grandfather is a legendary musician, Koo Nim, and this debut album was recorded with his father Kojo Noah Owusu and Ghanaian drummer Julius Sackey. Across nine glorious cuts he mixes highlife and Afro rhythms, Afro rock and psychedelic sounds with spiritual vocals into an energising and cathartic brew that is steeped in classic and authentic styles but with plenty of modern perpsective.
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: 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: Swaken marks the sophomore release from Moroccan-French powerhouse quartet Bab L' Bluz, following their lauded debut 'Nayda!' Recorded at Real World Studios, the album showcases the songwriting and production talents of Yousra Mansour and Brice Bottin. Exploring the concept of "possession" in Darija, Swaken delves into the haunting spirits that influence human experience, transcending mere trance to evoke a profound musical connection. Drawing from Chaabi music and the Lilas of the Gnaoua tradition, Swaken embodies a relentless pursuit of justice and defiance of norms. Musically dynamic, the album expands upon Nayda!'s foundation, delivering eleven compelling tracks of psychedelic Gnawa blues, brimming with intelligence, emotion, and raw vitality.
Review: Paul Ngozi's concept album, centered on the 1970s African townships' struggles, is a brilliant addition to the Zamrock legacy. This release is the third in Now-Again's reissue series, following the acclaimed Day Of Judgement and 45,000 Volts. The album comes with an oversized eight-page booklet filled with rare photographs, a comprehensive discography, and detailed annotations about Paul Ngozi and the Ngozi family's journey. Zamrock, a uniquely Zambian rock movement, thrived independently in the newly-named Zambia, formerly Northern Rhodesia. Unlike Nigeria's rock scene, influenced by European labels, Zamrock was purely homegrown. It encompassed a wide range of subgenres, from Musi-O-Tunya's fusion of Afro-beat, Hendrix-style rock, and traditional Zambian rhythms to Salty Dog's acid folk/rock.
Paul Ngozi, along with bands like WITCH and Amanaz, crafted music that stood apart not only in Africa but globally. This album is an example of the exciting, distinct sound of Zamrock, celebrating its originality and cultural significance.
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: 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.
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