Category: world


Cruelty Bacchanal, the second release from guitarist Matt Hollenberg’s group Shardik, is a ferocious statement of intent. Years in the making and issued on John Zorn’s Tzadik label, the album presents a volatile and politically charged fusion of modern classical structure, metal intensity, and free jazz unpredictability.
Hollenberg’s compositions are marked by intricate rhythmic architecture and an uncompromising sonic vision, alternating between explosive virtuosity and dark, layered atmospheres.
Executed with surgical precision and blistering intensity, Hollenberg’s playing veers between soaring lyricism, dense harmonic structures and searing improvisation. The result is a tightly coiled set of compositions that challenge…

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For more than 40 years, Kaabi Kouyaté’s career has spanned theatre, traditional Guinean music and Mandinka jazz. Now this extraordinary singer, who fuses griot tradition with contemporary music, has released this tribute to his father, the celebrated Sory Kandia Kouyaté (1933–1977). Kandia was known as ‘The Voice’ of independent Guinea and this project was prompted by the director of the award-winning documentary, La Trace de Kandia, in which Kaabi returned to Guinea to retrace his famous father’s footsteps.
For the album, Kaabi Kouyaté recruited a distinguished ensemble of musicians including Ballaké Sissoko (kora), Makan Badjé Tounkara (ngoni) and Lansine Kouyaté (balafon), as well as his father’s backing vocalist, Aminata Camara.

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Camila Meza offers one of her most sonically creative and personal albums with 2025’s Portal. Her first album since 2019’s Ambar, Portal was recorded following the birth of Meza’s first child, an experience that informs many of her songs. Rather than mix covers alongside originals, here Meza has for the first time written every song, lending the production a deeply intimate, handcrafted quality. These are flowing songs that find the Chilean guitarist and vocalist singing in both Spanish and English. She is equally as fluid stylistically, and much of the album has a cross-pollinated sound, bringing together her adept fusion and post-bop jazz chops with her ear for sun-dappled Brazilian and Latin pop traditions. Joining her is a cadre of equally gifted…

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Perhaps the biggest challenge facing Jasdeep Singh Degun when he decided to put Raag Jogkauns on record: how to keep it on a single LP. In the Hindustani tradition, ragas can run two hours or more. The structure of a piece gives the performer immense amounts of freedom. Both vocalists and instrumentalists explore that freedom at length.
Degun, for all his respect for the tradition, is not your typical raga-playing sitarist. At age 34, perhaps the best young sitar player in Britain, he has written for orchestra and collaborated with a string quartet. This is his first proper Indian classical recording.
The clash of civilizations is audible. It starts with Degun’s most fundamental choice. Jogkauns is a fairly modern raga, dating back to…

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…Lebanese-born singer and oud player Lamia Yared unveils her third album, From Minho to Euphrates, a profound musical journey that interlaces sacred and secular traditions from Iberia to Mesopotamia. Joined by Spanish multi-instrumentalist Efrén López and a distinguished ensemble of international musicians, Yared breathes new life into ancient repertoires that span languages, religions, and centuries.
To say that this album explores medieval religious music from around the Mediterranean undersells it. The record subverts our sense of time and place. Centuries-old hymns are arranged to sound both antique and innovative. The repertoire also explodes simplified assumptions about where certain religions should be rooted.

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Philadephia-based drummer and arranger Tom Cohen uses groups of various sizes from trio to octet recorded over a ten-year span to tailor an elegant musical “love letter” to Brazil and its iconic dance music, the bossa nova, on Embraceable Brazil, an album whose charming melodies and vibrant rhythms represent the best that picturesque South American country has to offer.
Of course, Antonio Carlos Jobim is here, as would be true on any survey of Brazilian music, with “Brigas Nunca Mais,” “Look to the Sky” and the ageless “Girl from Ipanema,” the last sung by Barbara Mendes with support from one of Philadelphia’s jazz legends, tenor saxophonist Larry McKenna. Mendes also sings (quite well) on “Brigas Nunca Mais” and the album’s…

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Forgotten and supposedly ‘lost’ albums rarely remain forgotten for long in the digital age, as they eventually find their way back into the present through some wormhole in the World Wide Web. Inzovu Y’imirindi by Bizimungu Dieudonne, a Rwandan civil servant with a passion for music, was discovered by musicologist Matthew Lavoie almost by chance during research.
In the late 1980s, Dieudonne self-released the tape, achieving a degree of local popularity. He plays guitar and sings together with his wife Agnes Umbibizi, while friends and family members provide the accompanying instrumentation.
The songs are deeply shaped by traditional African rhythms and melodies, even though the musicians make use of Western instruments.

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Welcome to life in a rambling house in Oslo where Gabba hangs out, parties, barbecues or just jams in the backyard. Their vibe is driven by the voice of John André Eira who sits in a corner while his søringa ‘southerners’, as he calls them, join in on percussion, guitars, trumpet or harmonium. The music’s spirit, though, comes from over a thousand miles further north, where John was born in the village of Mazé, into a family where Sámi traditions go back several generations.
John is one of many young Sámi musicians passionate about their heritage and the different Sámi languages. His voice is rich with the resonance and ornamentation of the wide-ranging joik vocal traditions, here expressing grief, the life of a newborn, or the realisation…

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Globally acclaimed music phenomenon Africa Express is back with a brand new studio album titled ‘Africa Express presents… Bahidorá’, recorded in Mexico and bringing together artists and musicians from four continents. The boundary-breaking music collective has, for over two decades, united artists across countries and genres in radically creative collaborations in which anything can, and does, happen.
With the idea of bringing together artists from different cultures, genres, and generations to perform and make music, Africa Express was founded in 2006 with a trip to Mali connecting local stars Toumani Diabaté, Bassekou Kouyaté and Amadou & Mariam with artists including co-founder Damon Albarn, Martha Wainwright and Fatboy Slim.

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The penultimate track on Kibrom Birhane’s Lisané Bahir, ‘AMEN’, has the voices of Ethiopian elders giving blessings over a slow swinging drum machine. A sequencer bubbles out a rubbery pattern beneath sparking keyboard flourishes, soaring pads arrive carrying a lofty vocal. The track’s origins came in a recent trip back home to Ethiopia by California-based Birhane, where he noticed he wasn’t hearing these blessings as much as he did when he was growing up there. He recorded them as a reminder for a younger generation.
Preservation is one of the motivations behind Birhane’s fourth album, continuation is another. Lisané Bahir’s title translates to ‘the sound created when earth and water meet’ in…

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Radio Tarifa were one of the great Spanish bands of the ’90s, their blend of Spanish, North African and medieval styles winning deserved international success. Benjamin Escoriza played a key role with his rough, smoky and emotional singing, prior to the band breaking up in 2006. He sadly passed 13 years ago, but Tarifa are back, revived by surviving members, multi-instrumentalists Faín Sánchez Dueñas and Vincent Molino, and helped by 15 other musicians, including five singers. Together, they create a patchily impressive affair.
The exuberant title-track features vocals recorded by Escoriza back in 2004, while the best of the new songs sound more Spanish than North African, with compelling vocals from the flamenco-influenced Javier Castrillón, and a stately…

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…includes two bonus tracks “Sittin’ Here (Karizma DJs Dub) and “Sittin’ Here (Peacey Remix).
Coming 15 years after he dazzled the world with his jazz-house album Tourist, Ludovic Navarre returned to his St. Germain moniker with this self-titled 2015 effort, the self-titling being a signal that the project was reborn. It is, at least partially, as rare groove jazz has been replaced by music from Mali, West Africa, along with blues and funky jazz guitars from around the world.
In the case of the highlight “Real Blues,” it is a Lightnin’ Hopkins sample that supplies the blues, while Navarre does his usual — and intoxicating — light house shuffle underneath. Many of the cuts here sound like an Amadou & Mariam release that’s constantly segueing into…

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Based in Mumbai, architect turned vocalist/ songwriter Vidhya Gopal has a lifelong adoration for Hindustani music, lending her a variety of vocal influences, including thumri, qawwali and ghazal. The follow-up to her 2023 debut EP Par, Mehfil is a concept release reimagining Indian semi-classical music with a modern sensibility. Recorded in front of a live audience, Gopal is joined by an ensemble consisting of keyboards, harmonium, tabla, electric guitar, bass and percussion.
On opening tracks ‘Piya Milan’ and ‘Akeli Darr Laage’, Gopal’s voice is accompanied by piano only – with well-chosen harmonic structures imbuing the songs with a tender, cinematic quality. More instruments are introduced as the concert progresses, shifting the tone from…

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On Back to Hermetics and Martial Arts Vol. 1, Belgrade-based collective The Cyclist Conspiracy take the listener on an extraordinary world tour of sound, blending the music of three continents and countless cultures into an engrossing cinematic dreamworld. Previous albums have showcased the troupe’s inspiration from Greek rebetiko, Balkan music and North African beats. Those influences are still very much present on Back to Hermetics, but the Conspiracy’s palette has broadened, and they show mastery of every style they tackle.
The Cyclist Conspiracy is named for a book by fellow Serb Svetislav Basara, in which a clandestine Brotherhood meets in dreams and meditates on the bicycle in order to gain secret knowledge. Members of the band refer to…

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Following a four-year studio album silence, famed Cuban singer Raúl Paz returns with a good-natured set that leans into themes of identity and place – ruminating on his 15 years outside his homeland. The album marks his return to the French music scene and comes with his trademark blend of traditional Cuban son, European pop and singer-songwriter music. The project’s name is a playful reference to him being a guajiro, a person from rural areas of Cuba, as well as guajira music, with which he is associated.
On ‘La Mala’, Paz combines a choppy acoustic guitar line, crisp percussion, brass fanfares and an earworm chorus to great effect. He demonstrates his versatility across the record, moving from upbeat numbers like this,…

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Juan Pastor‘s Afro-Peruvian jazz outfit Chinchano has undergone personnel changes since its 2014 inception, but the iteration on its fifth album is a keeper. While pianist Stu Mindeman has been with the project from the start, the bass and horn chairs have been occupied by different players. Now, the quintet on Memorias featuring bassist Matt Ulery, tenor saxophonist Dustin Laurenzi, and percussionist Gian Luiggi Cortez Mejía feels like the most perfect realization to date of Pastor’s vision. For the drummer and cajón player, this incarnation offers a “more mature, introspective approach to blending Peruvian music with jazz,” and some of that can definitely be attributed to Laurenzi, whose attack is more smooth than abrasive.
As intimated by the title, the album’s thematic…

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Originating from the port city Tumaco in Colombia’s Pacific region, Bejuco‘s name comes from a jungle word for a hanging plant stem, symbolizing truth, wisdom, and evolution, reflecting their deep connection to their roots.
The second album from this dynamic outfit follows their 2021 debut, Batea, which introduced listeners to their self-styled ‘bambuco beat’ – that is, a seamless combination of the rhythms of Afrobeat with the tenor of the region’s traditional music. So, marimbas vie with drums, bass, guitar and synths, along with thrilling, fiery vocals.
Listening to the irresistible opener, ‘Me Mueve el Tambó’, tells you much of what you need to know about the album’s intensity. There’s a similar urgency to most of the other eight…

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One of the challenges for a group like the Kronos Quartet is to keep finding new pathways to explore. They’ve spent a half-century commissioning works from cutting-edge composers, collaborating with unlikely partners, and stretching the boundaries of what a string quartet can do. Where else is there to go? Their latest release, Forgive Us For, has a few answers: Palestine, Iceland, and Ukraine. The album features three very different pieces, each topical in its own way.
The opener is “Ya Taali’een el-Jabal” (Going Up the Mountain), a traditional song that Palestinian women would use to communicate with men in prison. The album notes date it to the British Mandate; other theories trace it back further, to Ottoman times. More recently, vocalist…

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