Back catalogue: All genres

Review: Belgian-Bolivian musician Susobrino delivers his debut EP 'NO', titling itself after a primal negation, and forged in the interplay of traditional South American percussion music with electronica. As if to curb his habit of collecting an (perhaps over-) abundance of percussion instruments, 'NO' hears Susobrino set a stark limit for both himself and the listener, bringing just three curt tracks to wax following a live-changing tour of his ancestral South America. Honorific of the traditions of SA percussive music, Susobrino nonetheless intones: "Mixing acoustic instruments and field recordings with electronics with the music software Ableton was my cocktail from the beginning". The result is a widescreen demo of ascendant percy jawns, equally suited for the curio club-goer as it is for the Bolivian folklorico fanatic.

Review: The Joy, a vibrant a cappella group from the South African township of Hammarsdale, captured the hearts of global audiences with their soul-stirring harmonies and profound musical heritage. Growing up in a region where Zulu isicathamiya music thrives, made famous by legends like Ladysmith Black Mambazo, The Joy tap into a rich tradition and their music, characterised by powerful, lion-like mbube vocalisations, reaching beyond mere performance to touch something deeply ancestral, especially evident when lead vocalist Duzie unleashes his extraordinary voice. This group's journey from local choir practices to international acclaim is nothing short of miraculous, marked by a significant win in a regional singing contest and recognition from stars like Alicia Keys and Jennifer Hudson. Their music, produced by Two Inch Punch, blends traditional influences with contemporary appeal, achieving millions of streams and resonating uniquely in today's diverse musical landscape.

Review: Acclaimed South African folk singer Vusi Mahlasela joined forces with singer songwriter Norman Zulu as well as the superb Swedish jazz and soul collective Jive Connection for this album back in 2002. It was thought to be a lost recording until it recently showed up and now gets fully revived by Strut. There are strong political links between these countries which no doubt adds weight to this musical link up. It is a great exchange of cultures from parables to laments on child abuse to tunes that fuse reggae, jazz and post-punk with township styles.