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: It's remarkable to think that for all the technological leaps that have taken place throughout time, for every instance in which someone has picked up something and starting making a noise with it, then turned said object into a formalised instrument, the human voice remains the most startlingly powerful tool in the musical box. Those who don't agree clearly have never met Sheila Chandra.
The pioneering Asian singer is rightly considered one of the most important artists of her generation. The work she crates is highly accomplished, and can stop anyone dead in their tracks. Then there's the whole glass ceiling thing, with the England she was born into a very different place for people of Indian heritage than today. Weaving My Ancestor's Voice makes it clear just how incredible a talent she was (now retired due to medical issues), with this vocal-focused collection nothing short of mesmerising.
Review: This is a reissue of the 1996 album by the British Asian singer Sheila Chandra, who commands wide renown among diggers for her fusion of Indian classical, folk and pop music. Abonecronedrone is a minimalist exploration of the drone, the continuous sound that underlies Indian music. Six tracks, each named after the drone sound they feature, 'Abonecronedrone 1' to 'Abonecronedrone 6', resound across its resonant body, recalling the almost mathematic way Indian ragas have historically tended to be categorised. Chandra's layered vocals glide across the top, drawing particular attention to some rather prominent harmonics, overtones and textures.
Review: Sheila Chandra's Zen Kiss, first released in 1994, was among the best examples of the British singer's many forays into contemporary international music. The twist is that most of the album is a simple yet striking a cappella, which plays out from start to finish, and is rarely accompanied by anything so much as a faint yet enchanting drone. With Chandra's interpreting songs from various cultures and traditions - including those of Indian, Spanish, Celtic, and medieval origin - she displays a remarkable vocal range in both pitch and stylistic breadth, ranging from the rhythmic to the ethereal and improvised.
Review: Brazilian guitarist Fabiano do Nascimento and American saxophonist Sam Gendel join forces for The Room: ten tracks of broken jazzdance instrumentals conjoined by an almost telepathic synergy between artists. Springboarding from an initial collaborative gig at a restaurant owned by Gendel's cousin, the duo was thus born as a before-you-know-it gestalt; and in so coming together as a studio project, the artists realised their mutually jazz-laden upbringings, discovering even that both saxophonists had first picked up the brass at exactly the same age; both shared a fascination with environmentalism and ecology; both were superfans of experimental musician Hermeto Pascoal; et cetera. A serendipitous match, then, the album is synchronous to match, balancing five tracks per side in a sublime homeo-ecstatic equilibrium. Recorded in two days in a basement studio in Pacific Palisades, each track its own dive into the rhythms and regions of a South America without borders.
Review: .While Brazilian guitarist Fabiano Do Nascimento and American saxophonist Sam Gendel first met and played together at the dawn of the last decade - at a Los Angeles cafe both used to frequent, fact fans - it was only last year that they decided to collaborate on a release. The Room, the resultant album, was reportedly recorded in two days in a studio in the Californian countryside. It's an undeniably magical and sun-soaked affair, with Gendel teasing fluttering, flute-esque improvisations from his soprano saxophone while Do Nascimento delivers impeccable, finger-picking meditations on his seven-string acoustic guitar. The latter is undoubtedly a virtuoso with his own distinct style - a Brazilian take on classical guitar, incorporating nods to lesser-known regional music - but instinctively knows when to step back and allow Gendel the limelight. Impressive stuff all told.
Review: Peter Gabriel's i/o is an album that took shape over a fairly long period of time and it involves a wide and long list of cast members. It is packed with plenty of moments of vocal beauty and gravity, with Gabriel's iconic song writing abilities front and centre as he tackles a rich array of tough provoking subjects that confront us all. Moods range from hopefully and optimistic, to more gloomy and despondent with top contributions from Richard Russell, pianist Tom Cawley, trumpeters Josh Shpak and Paolo Fresu, cellist Linnea Olsson and keyboard player Don E.
Review: Peter Gabriel's return to the limelight is demarcated by i/o, the latest 12-track album on which he reasserts his voice and compositional skill, delivering a profound and life-affirming new message. Embracing a Wattsian speck-of-dust existential theme, lead cuts like the title track turn the thought of "I'm just a part of everything" into a motif, while also touching on themes of injustice, surveillance and the roots of terrorism. But While reflective, the mood is never despondent; i/o is musically adventurous, often joyous and ultimately full of hope, topped off as it is, by the rousingly optimistic closing song, 'Live and Let Live'. Note that this is the Bright Side Mix of the album: i/o is not simply a collection of a dozen songs. All 12 tracks are subject to two stereo mixes: the Bright-Side Mix, handled by Mark 'Spike' Stent, and the Dark-Side Mix, as reshaped by Tchad Blake; an embrace of today's ambivalent mood.
Review: Ever the musical maverick and sonic innovator, Peter Gabriel is serving up his bold and adventurous new album in several different formats with several different sub headings. This is the Dark Side Mix version on double heavyweight vinyl. It is packed with plenty of moments of vocal beauty and gravity, with Gabriel's iconic song writing abilities front and centre as he tackles a rich array of tough provoking subjects. Next to the man himself, plenty of guests on the full oringal version bring their own touch of class including Richard Russell, pianist Tom Cawley, trumpeters Josh Shpak and Paolo Fresu and cellist Linnea Olsson amongst many more.
Review: This is the ultimate version of Peter Gabriel;'s long awaited new album I/O. It comes across all formats - four vinyl, two CDs, a Blue Ray and even includes a booklet. The album finds him reasserts his voice and compositional skill, delivering a profound and life-affirming new message. Embracing a Wattsian speck-of-dust existential theme, lead cuts like the title track turn the thought of "I'm just a part of everything" into a motif, while also touching on themes of injustice, surveillance and the roots of terrorism. Elsewhere it is packed with plenty of moments of vocal beauty and gravity, with Gabriel's iconic song writing abilities front and centre as he tackles a rich array of tough provoking subjects. A welcome return.
Amahoro (Don't Get Angry) (feat Alvie Bitemo) (3:40)
My Place (feat Dobet Ghanore) (4:15)
Bobo Me (feat Nneka & Mamani Keita) (3:15)
Review: The all-female African supergroup Les Amazones d'Afrique, who've included some of the biggest stars in African music, here make a triumphant return, channelling a fresh sound on their third album Musow Danse. Forming in Bamako, Mali, in 2014 between three renowned Malian musicians and activists - Mamani Keita, Oumou Sangare and Mariam Doumbia - Les Amazones d'Afrique has since expanded to involve many female artists from across Africa and the diaspora. Combining a just cause - campaigning for gender equality and eradicating ancestral violence - with a slick, enticingly trap-influenced sound; we've got a potent cocktail on our hands. Richly melodic and far-ranging, Musow Danse blends pan-African styles and collaborative harmonies with gritty, contemporary pop, riffing off the idiosyncratic Congotronics producer Doctor L, and embracing a powerful pop sound led by 808s and glitchy synths.
Review: It's no secret that reggae and dub are male-dominated, despite women playing pivotal roles in both genres (What would dancehall be without Sister Nancy?) The undisputed king of British dub production and remixing Adrian Sherwood invites 10 women from across the globe to sing in their native language, a project prompted by repeated experiences of feeling intimidated from dub due to the severe gender imbalance. Hindi, Arabic and even Romani are just 3 of the tongues across this project, of which there are no English lyrics. 'Haste Makes Waste' from Japan's Likkle Mai and 'Chavale' from the Romani of Kerieva, who has a certain Bjork quality to her powerful vocals. This record is powerful and beautiful, a perfect celebration of what community and music can achieve in tandem.
Review: The Zawose Queens' debut album Maisha is a captivating blend of traditional Gogo music from Tanzania with modern electronic elements, showcasing the rich cultural heritage of the Zawose family while pushing boundaries. Produced by Oli Barton-Wood and Tom Excell, the album features 11 original tracks that seamlessly fuse ancestral rhythms with contemporary production techniques. Drawing on their deep roots in Gogo music, Leah and Pendo Zawose deliver powerful vocals and masterful instrumentation, accompanied by the percussive rhythms of the muheme drums and the resonant sounds of the illimba thumb piano. Songs like 'Lule Lule' and 'Kusekala Kwa Nyungu' capture the essence of go go tradition, while tracks like 'Fahari Yetu' and 'Sauti Ya Mama' celebrate themes of heritage and maternal love. Maisha is not just an album; it's a statement of empowerment for women artists in East Africa and beyond. The Zawose Queens have boldly stepped into the spotlight, reclaiming their place in the musical landscape and inspiring others to follow suit.
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