Album Reviews
Words: Dominic Valvona
Photo Credit: Aziza Brahim taken by Ana Valiño






This week’s recommendations and reviews (for the most part) share a musical hunger for the polygenesis; combining and merging a cornucopia of international sounds and cultures to spread a message of universal suffrage. A case in point, the ever-evolving North-of-England assemblage of migrants and refugees, Rafiki Jazz feature voices and musicians from all over the globe: from Arabia to India. Their fourth and upcoming captivating album, Saraba Sufiyana, is featured in this roundup. Channeling a mystical Maghreb, the French trio of Karkara goes heavy and transcendent on their new acid-doom-rock epic, Crystal Gazer. The Belgium outfit Compro Oro manages to circumnavigate a myriad of international destinations without leaving the suburbs of their native home on the new dance jazz LP Suburban Exotica, and UK producer Dan Harper, under the Invisible System title, once more transforms the traditional and courtly music of Mali, on the new album Dance To The Full Moon. Closer to European shores, Xylouris White, the Hellenic framed project of Dirty Three drummer Jim White and Greek lute player Giorgos Xylouris, release a fourth installment of their Cretan soundscapes, The Sisypheans.

Leading the charge this week though is the encapsulating soulful Aziza Brahim with her upcoming new album, Sahari. Born in the hardened landscape of a Saharawi refugee camp on the border of Algeria and the Western Sahara, the beguiled vocalist now lives in a state of exile in Spain. Her latest album continues to draw attention to not only that plight but also that of all refugees on an album that tries some a little bit different musically.

Something a little different, and away from this general thread of global initiatives, Belgium composer Alex Stordiau releases his inaugural album of Kosmische imbued neo-classical visions, Poking Your Imagination, for Pure Spark Records.

Preview/Feature




Aziza Brahim ‘Sahari’
(Glitterbeat Records) Album/ 15th November 2019


Bringing the message of the displaced Saharawi people to the world stage, Western Saharan musician/activist Aziza Brahim follows up both her critically rewarded 2014 album Soutak, and the no less brilliant 2016 serene protest of poetic defiance Abbar el Hamada album with her third for Glitterbeat Records, Sahari.

Born in the hardened landscape of a Saharawi refugee camp on the border of Algeria and the Western Sahara, beguiled vocalist Aziza embodies the wandering spirit of her people; their settled, though often borderless and disputed lands, previously claimed by Spain, were invaded in 1975 by Morocco. Though made up of many tribes with many different goals the Saharawi people mounted a fight back. It was in this climate that Brahim was hewed. Exiled in effect, her travails have extended to Cuba, where she was educated as a teenager, and Barcelona, where she now resides and makes music.

Imbued as ever with the desert soul of that disputed region, the latest record, with its visual metaphor of optimism in even the most desperate of backdrops and times – dreams of growing up to be a ballerina proving universal – attempts to marry the beautifully longing and heartache yearns of Brahim’s voice to a number of different styles and rhythms: A subtle change towards the experimental.

Previous encounters have channeled the poetic roots of that heritage and merged it with both Arabian Spain and the lilted buoyancy of the Balearics. Working with the Spanish artist Amparo Sánchez of the band Amparanoia, Brahim has chosen to add a congruous subtle bed of synthesized effects to the recording process: before performing live in the studio, but now recording in various places, the results collected together and pieced together in post-production. This methodology and sound furnishes Brahim’s longing traditional voice with certain freshness and, sometimes, shuffled energy. Songs such as the loose and free ‘Hada Jil’ lay a two-step dance beat underneath a desert song drift. Later on there are dub-y rim-shot echoes and undulating waves of atmospheric tonal synthesizer underpinning that blues-y startling timbre. However, the most surprising fusions to be found on Sahari are the Compass Point reggae-gait ‘Las Huellas’ and the Arabian soul channeling Fado ‘Lmanfra’. There’s even room for a piano on the balladry ‘Ardel el Hub’; a song that plaintively conveys the “impossibility of returning home”, a sentiment the activist Brahim is only too familiar with – denied entry or the right of return, effectively in exile.

The sound of the Sahrawi is never far off, despite the technological upgrade. That most traditional of handed-down instruments, the “tabal drum”, can be heard guiding the rhythm throughout; rattling away and tapping out a beat that changes from the threadbare to the clattering. Brahim’s vocals are as ever effortlessly enriching, captivating and trilling. I dare say even veracious.

Articulating a broader message of global suffrage, Brahim once more encapsulates the sorrows of the exiled and stateless on a sumptuous album, The wanderer and Saharan siren invites new dynamics without changing the intrinsic character and message of her craft, yet ventures beyond those roots to embrace bold new sounds. A most fantastic, poetic songbook that will further cement Brahim’s deserved reputation as one of the deserts most serene artists.






Reviews

Compro Oro ‘Suburban Exotica’
(Sdban Ultra) Album/ 18th October 2019





Illuminating Belgium suburbia with a cornucopia of entrancing and limbering sounds and rhythms from across the world, Compro Oro transport the listener to imaginative vistas on their latest album of jazz imbued exotics. Making waves as part of a loose jazzy Benelux scene, the troupe have even managed to rope in the help of Ry Cooder’s accomplished scion, the multi-instrumentalist talent Joachim Cooder, who adds an “effects-laden” mbira and percussion to a trio of imaginative tracks.

Like their comrades on that scene, Black Flower, the Compro sail into various melting-pot rich harbors, soaking up the atmosphere and embracing what they found, weaving the multilingual sounds into a vibrant soundtrack of tropical new wave pop, dance music, alt rock ‘n’ roll, Turkish-psych and Ethno-jazz fantasy. Cal Tjader, Mulatu Astatke and Marc Ribot are all cited as inspirations, their indelible mark suffused throughout this LP. Add to that trio a strange interpretation of Herbie Hancock (on the Somalia ease-up ‘Mogadishu’; imagine the Dur-Dur Band floating on a kooky jazz cloud above the tumultuous city), Soulwax (on the palm tree Latin dance funk ‘Miami New Wave’) and a rewired Modern Jazz Quartet (that will be the often twinkly and trickling use of vibraphone, but also the marimba too). The curtain call thriller ‘Kruidvat’ even evokes the darker stirrings of later period Can, and the wafting ambiguous snuffles of Jon Hassell.

For the most part dreamy and under a gauze-y veil, Suburban Exotica sashays and drifts across a musical landscape of Arabia, Anatolia, Eastern Africa, The Caribbean and Hispaniola without setting foot outside of their Belgium front door. The more you listen the more you discover and get out of this brilliant dance album of borderless jazz. What a treat to the ears and feet.





Invisible System ‘Dance To The Full Moon’
(ARC Music) Album/ 25th October 2019





An apt hand in transforming the traditional sounds of Mali, the British producer Dan Harper’s experiment in this field stretches back two decades; set in motion by the rudimental laptop-produced Acid Mali project he created whilst working as a Capacity Builder for a local Malian environmental NGO. So taken was Harper with the country, he ended up not only meeting his future wife there but setting up home and a studio in the capital, Bamako. His wife, Hawa, would introduce Dan to childhood friend and renowned guitarist Bandjougou, who in turn would bring in tow the dusty soulful rich vocalist Sambou koyaté to sing for him. Both artists appear on this new album alongside the griot siren Astou Niamé Diabaté, who as it turns out sang at Dan and Hawa’s wedding.

Taken from the same recording sessions as Dan’s previous album, Bamako Sessions, his latest transportive exploration under the nom de plume of Invisible System, once more lends an electrified and synthesized pulse to the spiritual soul of Malian music. Originally put together in a more languorous fashion with a variety of musicians coming and going, jamming in a mattress proofed room in a rented house in the capital, Dance To The Full Moon took shape at the end of a tumultuous and violent period in Mali’s history. Experiencing firsthand (literally on Dan’s own doorstep) the terrorist attacks that followed in the wake of a, finally curtailed, Islamist insurrection and the ongoing war between Mali’s government in the West and the Tuaregs of the North and Eastern desert borders, fighting to set-up an autonomous region, known as the Azawad. Though a certain stability has returned in part to Mali, attacks still occur sporadically; the effects of which permeate throughout the work of the country’s artists, the majority offering a conciliatory tone with the emphasis on unity and understanding. With that in mind, Dan’s album is rich with passionate expressive longing and intensity; the varied juxtapositions of the griot tradition and less rural, more urban vocals combine to deliver some startling performances.

The gently resonate accents and fanned waft of the Malian guitarist’s Kalifa Koné and Sidi Touré accentuate the brilliant vocal parts; a gathering of powerful griot acolytes, singers and even a rapper (Mali rap star Penzy) that includes the already mentioned trio of Bandjougou, Koyaté and Diabaté spiral between the sweetened and intense, the hymnal and physical. Dan boosts and filters those strong performances with a production of techno, modern R&B, dub and futuristic post-punk that sonically weaves in echoes of Massive Attack, Daniel Lanois, King Ayisoba and Dennis Bovell.

Nothing can ever truly improve upon the roots and soul of the traditional courtly music of Mali, its desert blues and Bamako rock of course, but you can push it into exciting directions. Dan’s rewired buzz and pulse does just that, giving a kick and lending an attuned production to the Mali soundscape.



Alex Stordiau ‘Poking Your Imagination’
(Pure Spark) Album/ 30th September 2019





Enticing former label mates from Edinburgh’s Bearsuit Records to his burgeoning venture Pure Spark, Tokyo electronic wizkid Ippu Mitsui welcomes the Brussels based composer Alex Stordiau to the ranks. Featuring alongside House Of Tapes Yuuya Kuno, Stordiau also previously appeared on the Mid Lothian Bearsuit roster – mentioned on this very blog for his standout Vangelis-style voyager waltz into the cosmos ‘Fulfilling Eclipse’, from the label’s The Invisible And Divided Sea compilation.

Like a missing neoclassical Kosmische suite from the Sky Records vault, Stordiau’s inaugural album for Mitsui’s imprint is a serene, though often dramatically stirring, exercise in sculpting retro-electronic soundtracks.

With a classical background, studying at various Belgium conservators, Stordiau combines elements of cascading, romantically accentuated piano and suffused strings with synthesized and computer programmed sine waves, glassy tubular glistened percussion and vaporous sweeps.

The Belgium visionary often works with Bristol musician Lee Williams, who plays, among other things, both electric guitar and bass, and sometimes drums. It sounds as if Williams is present once more, on hand with warm ponderous bass and the odd bit of wilder kooky lead guitar.

Track titles on Poking Your Imagination only go so far in describing each composition’s route on an album of undulating mood pieces. The opening descriptive ‘In The Tepid Shine’ is pure escapist air-bending; crafting vague echoes of Jean Michel Jarre with Roedelius’ more beautifully spherical elevations. Most of these tracks waver over the course of duration; changing or pausing between parts, starting off like the Blade Runner neon skyline lighted ‘Tree Healing’ with a darker, theatrical classical grandeur but suddenly joined by drums and a touch of Vangelis sci-fi. Elsewhere you’re bound to identify the space peril looming shadow of Tangerine Dream and the more popcorn kookiness of Cluster amongst the Baroque cathedral and gravity arcing visions.

A panoramic, mostly cosmic soundtrack of classical Kosmische and humanized electronica, Poking Your Imagination is an assiduous suite of the mysterious, scientific and dreamy.





The Mining Co. ‘Frontier’
Album/ 25th October 2019





Not that you can detect it from his lilted peaceable, if hearty, Americana burr, or the Western-alluded nom de plume that he goes under, but singer/songwriter Michael Gallagher was born in Ireland. Obvious now you’ve read his actual name I know, but just sound wise, it is difficult to hear that Irish bent. In a similar vein to such luminaries as Simon Bonney, the County Donegal troubadour subtly channels a timeless vision of the lyrical, pioneering old West (and South for that matter) on his new LP, Frontier.

Via a Nashville, Texas and New Mexico panorama, Gallagher tailors personal anxieties of disconnection, dislocation and growing pains with familiar old tropes on a songbook of “hangdog” country fare. A romantic album at that, with shades of a pining Josh T. Pearson, The Thrills, Lee Hazlewood, Tom Petty and the Eels, Frontier showcases the artist’s most tender swoons and yearnings. This is a soundtrack of purposeful blues, skiffles and mellow gospel, all softly laced with a subtle echo of Mariachi horns and tremolo twang.

Various memories of a childhood back in Ireland (the night Elvis died sounding a special resonance on the lilted lap-steel rich ‘The Promised Line’) and phobias (a rational fear in my book of flying inspiring the country-prayer ‘Empty Row’) are transported to wistfully articulate American musical settings; a landscape and sound it seems Gallagher belongs.

The third such album from his The Mining Co. alter ego, Frontier is full of romantic intent and stirring candid cathartic heartache; a shuffling songbook handled with care and tenderness that will unfurl its charms over time.




Xylouris White ‘The Sisypheans’
(Drag City) Album/ 8th November 2019





Less a Greek tragedy, more a kind of acceptance of one’s fate (or, play the hand you’re dealt and make the best of it), the Hellenic inspired collaboration project of Giorgos Xylouris and Jim White take their lead on the purgatory fate of boulder carrier Sisyphean from Albert Camus: to a point.

The absurdist doyen once wrote a famous tract on that Greek fella’s predicament: Punished by Zeus to roll a large boulder up a mountainside in Hades, each time he reached the top the boulder would roll right back down to the start. And so the process began all over again: An endless, thankless trudge and metaphor for all the all too real daily grind of life outside the mythological imagination. Or so you’d think. Camus however saw it not has a pointless waste of effort and slow punishing meaningless task but as a challenge: noble even. That Sisypheans’ repeated burden should be seen as an achievement, that the struggle should be enough to “fill a man’s heart”. Sisyphean has accepted his it and so should you, or, words and sentiment to that effect.

Of course, even deeper contentions can be found in Camus’ essay; how our tragic figure confined to a limited limbo landscape created in his mind a whole universe from it. Xylouris and White themselves pondered how he might experiment with carrying that burdensome rock; alternating hands, carrying behind his back and so on. Essentially though, this is about experiencing, seeing and discovering anew each day with a concentrated mind the things you take for granted: especially your surroundings. The duo initially turn to the atavistic in conveying these ideas and sentiments; using the suffused blown stirrings of the Greek flute (Aulos) and vibrato resonating spindly fanning tones of the laouto (a long-necked fretted scion of the lute family). In addition to these two lead instruments, the scene is set with shrouded misty and soulfully yearned voices, Giorgos’ son Nick on cello and on the serialism waning moodscape second track a ‘Goat Hair Bowed’ instrument. And so a sweeping, mournful at times, traverse that takes in dancing Grecian figures, wedding celebrations, bewailed lament and travels to the furthest reaches of the Greek borders: sailing at one point into the tumultuous mysterious vision of the much-disputed and fought over ‘Black Sea’.

However, the both taught and freeform, skittish experimental percussion and breaks of Dirty Three drummer White adds another dimension to the rootsy and earthy feel. Always tactile and congruous, White lifts or underpins certain tracks with avant-garde taps, clutters, rim rattles and jazzy frills and crescendos. A touch of progressive jazz, even Krautrock, that sends this project into more contemporary climes.

Between the chthonian and ethereal, the philosophical and viscerally dreamy, The Sisypheans minor epic is an extraordinary musical peregrination worth exploring: Music for the cerebral and the senses.




Rafiki Jazz  ‘Saraba Sufiyana’
(Konimusic) Album/ October 2019





It’s no idle boast to suggest that the North of England based Rafiki Jazz could be one of the most diverse groups on the world stage. Testament of this can be heard on the troupe’s previous trio of polygenesis albums: an untethered sound that simultaneously evokes Arabia, the Indian Subcontinent, Northern African, the Caribbean, South America and Balkans.

With representatives from nearly every continent, many of which have escaped from their homelands to find sanctuary in the UK, Rafiki Jazz is an ever-evolving ensemble of migrants and refugees alike coming together to produce sweeping divine borderless music.

Their latest visionary songbook is a filmic panoramic beauty, no less worldly and stirring. The opening diaphanous spun ‘Su Jamfata’ encapsulates that perfectly; mirroring the group’s musical freedom and spiritual connection; lilting between a myriad of regions with stunning vocals that evoke both Eastern Europe and the Middle East. The following floaty and ethereal well-of-sorrows ‘Azadi’ even features a Celtic and folksy air (one that is repeated later on). This is in part due of course to the guest performances of both the English fiddle extraordinaire and songwriter Nancy Kerr and traditional Gaelic singer Kaitlin Ross. A third vocal addition, Juan Gabriel, can be heard lending a guttural throated underbelly to an already eclectic chorus of singers.

Buoyant tablas and spindled kora sit in perfect harmony with Arabian oud, tropical steel drums, the Brazilian berimbau and the varied voices of Sufi, Hebrew, Hindu, Egyptian-Coptic and Islamic, without ever feeling crowded or strained.

Saraba Sufiyana translates as “mystic utopia”, a title that epitomizes the group’s curiosity and respect for other culture as they build a brave new sonic world of possibility. One that takes in all the dramas and woes of the current international crisis and the lamenting poetry of venerable hardship – the final quartet cycle of prayer and spiritual yearning, ‘My Heart My Home’, beautifully conveys a multitude of gospel and traditional religious plaint, ending on the stirring Hebrew field song ‘Shedemati’. Twenty years in and still improving on that global remit, Rafiki Jazz delivers a magical and rich fourth LP. Devotional music at its most captivating and entrancing.



Karkara ‘Crystal Gazer’
(Stolen Body Records) Album/ 25th October 2019





There’s a hell of a lot wind blowing throughout the mystical and spiritually Toulouse trio of Karkara’s Crystal Gazer epic. North African wind that is; the exotic charms and mystery of the Maghreb on a swirling breeze, flows through and introduces each incantation heavy communal transcendence.

The mirage-shimmery title-track vignette even features a sirocco echo of ghostly enervated Tuareg desert guitars, whilst the electrified speed freak ‘Zarathoustra’ doesn’t just allude to Nietzsche’s infamous Thus Spoke but astrally heads back to the founding father of that mystical Persian faith via an eastern Link Wray and Gothic soup of Krautrock jazz and acid rock.

The counter flow breathes of another desert also permeate this LP, the sound of a veiled didgeridoo constantly present in building atmosphere and mysticism. Loud and physical, though not without some sensitivity, the trio chant, howl and pray their way through a vortex of flange and fuzz as they soar over a fantastical landscape that takes in the southern constellation star of “proxima centauri” and the gates of the Tunisian Medina, ‘Jedid’.

Allusions to seers, mystics and Gothic romantics abound, whilst the musical inspirations fluctuate between heavy space rock (Hawkwind) and Krautrock (Xhol Caravan, Embryo), post-punk (Killing Joke) and baggy (Stone Roses on a bum ride), and spooked, sleazy rock’ n ’roll (Alan Vega).

Transcended Tangier trips, Karkara aren’t exactly the first group to occupy this space, but they do it with volume and dreamy élan.




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Words: Dominic Valvona






If the Glitterbeat Records label had a remit, ‘a raison d’etre’, it would be all about transcending borders, whether it’s the physical, geographical or subconscious kind, to bring the most ‘vibrant’ and ‘committed’ of artists to a global audience.  Finding existing and ‘possible musics’ (to borrow a term from the label’s own reissue of Jon Hassell and Brian Eno‘s iconic 1980 transformative soundscape experiment, Fourth World Volume One: Possible Musics) from across the world, the independent German-based sister label to Glitterhouse Records has in a short timeframe helped reshape and redefine what we know as ‘world music’ – a fatuous term in itself, still largely used to denote anything outside the comfort zone of Western commercial music.

Originally putting out a catalogue of sublime and obscure records from some of Malia’s most important, traversing desert blues and rock artists (from Ben Zabo to Tamikrest and the Songs For Desert Refugees compilation) on Glitterhouse, world traveler bluesman Chris Eckman of Dirtmusic fame (the labels unofficial in-house band) went on to co-found the Glitterbeat imprint with Peter Weber in 2013. The inaugural release on that label, now celebrating its fifth anniversary, was a 12″ remix of Ben Zabo’s Dana by Mark Ernestus (Rhythm & Sound, Basic Channel), released sometime around March 22nd, 2013.

From the already mentioned desert blues stars of Mali and ‘beyond’, Eckman’s ever growing roster of contemporary sonic adventurers hail from a number of other African countries, including Ghana, Mauritania and the Bargou Valley bordering Algeria. And has since gone on to expand its remit and reach out to include music from the Balkans, Southeast Asia, the Levant and South America.

As you can imagine, this global expansion encompasses a myriad of musical styles, many of which were in serious danger of disappearing into obscurity if not for the work of music ethnologists such as Paul Chandler and Grammy Award winning field-recordist/producer Ian Brennan (we were lucky enough to interview Ian a couple of years ago), who both recorded for posterity ‘lost voices’ and atavistic guardianship documented collections for the label under the Hidden Musics series.

So busy and bustling with potential releases, in the last couple of years they’ve set up a congruous imprint of their own, the tak:til scion: an extension and home for more transcendental, meditative and experimental material that doesn’t quite fit the main label. Featuring a mix of re-released and remastered iconic albums from the ambient, soundscape and devotional genres – including the already mentioned inaugural Jon Hassell and Brian Eno collaboration -, Tak:til has featured Širom‘s Slovenian odyssey I Can Be A Clay Snapper and 75 Dollar Bill‘s psychedelic desert rock and trance of the Maghreb, avant-garde, jazz and even swamp boogie delta blues transient W/M/P/P/R/R.

 

From handkerchief waving Albanian songs of sorrow to Istanbul dub; from hybrid collaborations such as Tony Allen‘s album with some of Haiti’s finest musicans, the Afro-Haitian Experimental Orchestra, to the electric griot psych of Noura Mint Seymali; from the Turkish pregriation and siren vocals of Gaye Su Akyol to the carnival funk of Bixiga 70; Glitterbeat Records has helped uncover a whole new musical world of discovery for people like me. It’s no surprise that they’ve won the WOMAX label of the year so many times, and attracted heaps of acclaim. I’ve more or less featured every single one of their forty plus releases, and seldom found a dud. And Glitterbeat Records have appeared more times than any other label in our end of year features.

To celebrate the label’s fifth anniversary, I’ve chosen both personal favourite releases and tracks from the back catalogue.


Lobi Traoré  ‘Bamako Nights: Live At Bar Bozo 1995’  2013

From the very beginning, one of Glitterbeat Records earliest releases, Bamako Nights captures the loose, almost extemporized sounding, drift of the late Malian legend Lobi Traoré (who died at the age of 49 in 2010); capturing one of his ‘packed-to-the-rafters’ live shows from the feted and iconic Bar Bozo.  The singer/songwriter takes the crowd with him as he meditatively affects an adroit passage through Mali’s social and political pains. Attenuate guitar lines bolstered by flanger; licks powered by enveloping sustain; and a band whose steady yet often expletory solo spotted, bubbling bass and rapid percussion bind the nuanced accents together, all prove rhythmically hypnotic.

To have been a-fly-on-the-wall at one of these intimate, intense, shows must have been a magical experience; especially as Traoré kept the anticipation building; the appreciative audience either enthralled by every descriptive note and earthy toiled vocal or adding their own backing chorus of spiritual hollering and hand clapping: You’ll be hard-pressed to find a greater live experience and encapsulation of the atavistic West African blues.



Samba Touré  ‘Albala’  2013

As Mali continues to exist in a fragile union after the recent Islamic hijacked insurgency (curtailed by former colonial masters France with additional support from the UK), a host of the country’s great and good (Bassekou KouyateFatoumata DiawaraBaba Salah, Tamikrest to name just a few), compelled to speak out, have added gravitas to their praised sweet tribal blues in defiance of the regimes that would have banned or at the very least censored their music. Known for his work with the late Malian legend, Ali Farka TouréSamba Touré is an amiable enough chap whose previous acclaimed albums, Songhaï Blues and Crocodile Blues, were more genial affairs, shows his disapproval with a grittier, riskier brand of protest on Albala.

Albala – translated from the Songhaï language as ‘danger’ or ‘risk’ – is a darker, albeit lamentably so, album. But so delicately melodious and nimble is the delivery that the cries of woe remain hymn-like and hypnotically diaphanous: the blues may have turned a deeper shade of forlorn yet still sways with meandrous buoyancy and restrained elegance.

A traditional accompaniment from Touré’s regular band mates Djimé Sissoko (on ngoni) and Madou Sanogo (tapping out a suitable candour on congas and djembe), with guest performances from celebrated ‘master’ of the one-stringed violin, the souk, Zoumana Tereta, and fellow Malian ‘neo-traditional’ singer Aminata Wassidje Touré is bolstered by effective guitar and keyboard layers from Hugo Race (The Bad SeedsDirtmusicFatalists). This subtle mix works wonders, giving the overall sound a mystical delta blues feel, resplendent with fuzz, wah-wah and wailing soul.



Aziza Brahim  ‘Soutak’   2014

Born in the hardened landscape of a Saharawi refugee camp on the border of Algeria and the Western Sahara, beguiled vocalist Aziza Brahim embodies the wandering spirit of her people; their settled, though often borderless and disputed lands, previously claimed by Spain, were invaded in 1975 by Morocco. Though made up of many tribes with many different goals the Saharawi people did mount a fight back. It was in this climate that Brahim was hewed.

Soutak, or ‘your voice’, is centered on just that. The backing is striped to a degree, so the poetic reverberated vocals can echo and warble soulfully without interruption. Though there is no mistaking that strong, robust and primal Saharan spirit, the congruous accompaniment is a mix of both Balearic and folk rock styles – especially the deep sleek bass guitar notes that slide and weave under Brahim’s distinctive voice.

Produced by Chris Eckman (of Dirtmusic fame), whose assiduous talents have done wonders with Malian blues rockers Tamikrest and Bamako Afrobeat artist Ben Zabo, Soutak was recorded live in Barcelona: the fluid lilting cosmopolitan sound of that city is unmistakable.

Serene and subtly sung, the choral, almost desert gospel hymns take time to unfurl their charms, so be patient. Once again Glitterbeat and Eckman have a classic world music crossover on their hands.



Dirtmusic  ‘Lion City’  2014

Connecting the ‘dirt music’ environment of an unforgiving Australian outback with the Cajun swamplands, desert and bustling African townships, Glitterbeat Records co-founder and producer of their awe-inspiring roster of world music greats, Chris Eckman, leads his nomad troupe across esoteric and meditative terrain soundscapes.

At times almost alien, their borderless approach to mixing rock, blues and (mostly) West African music in a seamless wash, creates something both mysterious and original. Recorded at the same time as their last album Troubles, in Bamako, Lion City couldn’t help but be guided politically and socially by the upheaval in Mali. A testament to the eerie developments and a lament that also offers hope, Dirtmusic and their guests (which include such luminaries as the Ben Zabo Band and Samba Touré) prove that you can work alongside African artists without succumbing to condensation.

Far more successful if not authentic than anything Albarn or indeed the ‘Radio’ polygenesis collectors The Clash could ever produce, these Westerners move serenely, blurring the cultural boundaries as they circumnavigate the psychogeography of the chaotic city and romanticized but often harsh sand dune landscapes of both West and North Africa. You could say it was a culmination of the entire Glitterbeat labels stock, condescend into one challenging soundtrack.



Noura Mint Seymali  ‘Tzenni’  2014

The technicalities, pentatonic melodies and the fundamental mechanics aside, nothing can quite prepare you for that opening atavistic, panoramic vocal and off-kilter kick-drum and snare; an ancestral lineage that reaches back a thousand odd years, given the most electric crisp production, magically restores your faith in finding new music that can resonate and move you in equal measure.

Hailing from the Islamic Republic of Mauritania, nestled in between Algeria, Senegal, Mali and the Western Sahara, with the Atlantic lapping its shoreline, Noura Mint Seymali keeps tradition alive in a modern, tumultuous, climate. Her homeland – run ever since a coup in 2008, by the former general Mohamed Ould Abdel Aziz, duly elected president in 2009 – was rocked by the immolation sparked Arab Spring and subsequent youth movement protests, all of which were violently suppressed by the authorities. Add the omnipresent problems of FGM, child labour and human trafficking to the equation and you have enough catalysts to last a lifetime. However, Noura’s veracious commanding voice responds with a dualistic spirit, the balance of light and shade putting a mostly positive, if not thumping backbeat, to forlorn and mourning.

Recorded in New York, Dakar and in the Mauritania capital of Nouakchott, Tzenni transverses a cosmopolitan map of influences and musical escapism. The original heritage still remains strong, yet the ancient order of griot finds solace with the psychedelic and beyond.



Jon Hassell/Brian Eno  ‘Fourth World Vol.1: Possible Musics’  2014

Already riding high on a crust of acclaimed production projects and numerous semi-successful collaborations and solo albums, when Brian Eno touched down in New York City in 1978 he would unintentionally help direct another important development in ambient and world music (and also end up staying for five-years). Absorbed in what the city had to offer him musically, Eno came across the stripped and atmospherically rich experiments of trumpeter/composer Jon Hassell, who’s own pathway from adroit pupil of Stockhausen to seminal work on Terry Riley’s harangued piano guided In C, encompassed an polygenesis of influences: a lineage that draws inspiration from avant-garde progenitors like La Monte Young, and travels far and wide, absorbing sounds from Java to Burundi.

Though a minor figure in the sense of worldwide recognition, and never one to brush with any sort of commercial popular appeal, Hassell irked out his own personal philosophy. With a handy masters degree in composition, he attempted a reification of what he would term the “fourth world”; a style that reimagined an amorphous hybrid of cultures; a merger between the traditions and spiritualism of the third world (conceived during the “cold war” to denote any country that fell outside the industrious wealthier west, and not under the control of the Soviet Empire) and the technology of the first.

Untethered to any particular landscape and age (though traversing for the most part the mysterious, veiled continent of a inter-dimensional Africa), geographical and environmental alluded titles act as points of reference; alluding both to such diverse subject matter as the traditional songs of the Central African pygmy tribes (Ba-Benzéle) and the latitudes and weather phenomenon of an undisclosed landscape or city (Rising Thermal 14° 16’ N; 32° 28’ E).

Moving at a similar pace throughout, the lingering vapours drift over and enclose the listener; hinting always at some mystical or miasma presence; steeping each composition in a sepia of low emitting foggy harbour like droning horns, plastic pipe sounding percussion, tape echo experimentation, panoramic glides over the savannahs and of course Hassell’s stripped bare, reedy and masked stirring trumpet.

An almost continuous set of transient movements, the mood varied from lightly administered rhythmically slow paced pieces to cerebral blankets of panoptic memory; a style coined as “future primitive”. Reissued by Glitterbeat Records under their visionary imprint Tak:til, this album can be read as a principle guiding light and inspiration for their roster and ambitions.



Various ‘Hanoi Masters: War Is A wound, Peace Is A Scar’ 2015

A side excursion, travelling due east to Asia and breathing in the evocative songs of Vietnam, Glitterbeat Records launched their new series of field recordings entitled Hidden Musics with the Hanoi Masters compilation. Finding a congruous musical link with their usual fare of West African releases, the label sent Grammy-award winning producer Ian Brennan (credits include, Tinariwen, Malawi Mouse Boys, The Good Ones) to Vietnam in the summer of 2014 to record some of the most lamentable and haunting resonating war-scarred music. Indelibly linked to what the indigenous population call ‘the American war’, the examples of both yearning and praise pay tribute to the fallen: delivered not in triumphant or propagandist bombast but in a gentle meditative manner, these survivors, forty years on from the end of the harrowing and catastrophic (the repercussion still reverberating in the psyche of the burned America and its allies) war, were still undergoing the healing process.

Tinged with an omnipresent lilting sadness these songs are imbued with battle scars (hence the albums subtitle War Is A wound, Peace Is A Scar), featured artisans and traditional music masters who had joined the cause, sometimes for the first time in years, allow their voices to be heard once again and recorded for posterity.

Considering the history and ill blood between cultures – though this has eroded as capitalism takes hold and the country opens up – it has in the past been difficult to investigate the serene and attentive beauty of the Vietnam music scene, but this earnest and adroit study into a world seldom covered proves enlightening and humbling.



Bixiga 70  ‘III’  2015

Speaking Fela fluently with marked respect and reverence, going as far as to borrow part of the late Nigerian bandleader and doyen of Afrobeat’s backing group moniker, Bixiga 70 may be inspired and informed by Kuti but they do so much more with his high energy polyrhythms and feverish hot-footed anthems. The eclectic Sao Paulo band, who joined the Glitterbeat family in 2015, add even more flavour to the Afrobeat template on this their third album. Energised by their performances in the hotbeds of fusion, from North Africa to Europe, and working with a decentralised method of producing new material, the III album reaches out and embraces an even richer array of world sounds.

Incorporating the rhythms and dances of their own continental home, Bixiga shake and shimmy to the local customs of cumbia and the sensual hip movements of the carimbo on a trio of slinky paeans to the indomitable spirit of joyous release. Congruously they go, flowing from one source to the next deftly, passionately and with a raw powered energy, our Brazilian friends relationship with Glitterbeat has proved to be a sound move; an ideal home for the group’s ever expanding fields of sound and exploration.



Afro-Haitian Experimental Orchestra  ‘A.H.E.O’  2016

Progenitor and embodiment of the Afrobeat drum sound, still in high demand four decades after his explosive partnership with Fela Kuti, the much-venerated Tony Allen extends his infectious percussion style beyond the African homeland. Sharing an obvious entwined history with Africa, the shared Hispaniola Island of Haiti proves both an esoterically mysterious and congruous collaborative foil to Allen’s distinct drumming patois.

Invited to perform in 2014 by the French Institute Of Haiti’s director Corinne Micaelli, Allen’s visit would end with a public broadcasted concert in the main square of the capital, Port-au-Prince. Collaborating with Allen would be a cross-section of local percussionists and singers recruited by vocalist, dancer, ‘voodoo priest’ and director of the Haitian National Bureau Of Ethnology, Erol Josué; Josué would himself lend his sweet yearning and reflective tones to two of the tracks on this album.

The call went out and the great and good of the Haitian music scene came. Racine Mapou de Azor, the Yisra’El Band, Lakou Mizik and RAM. Another Monolith regular and one-time Port-au-Prince resident, Mark Mulholland was drafted in as the experimental orchestra’s guitarist, and as it would turn out, eventual legacy overseer. With only five days of studio rehearsal time to gel and work out their performance, the sessions proved both, as Mulholland observed, ‘chaotic’ and overwhelming’.

Elevating beyond the borders it was created behind, the Afro-Haitian Experimental Orchestra root foundations shuffle and shake free of their stereotypes to move freely in an increasingly amorphous musical landscape. You’re just as likely to hear vibrations and traces of Dub, native Indian plaintive ghostly echoes, Sun Ra’s otherworldly jazz and funk as to hear the indigenous Haiti sounds and Afrobeat pulse. Tony Allen is once more at the heart of another bustling, dynamic explosion in rhythm.

Various Artists  ‘Hidden Musics Vol 2.  Every Song Has Its End: Sonic Dispatches From Traditional Mali’  2016



Though no less an achievement, the second volume in Glitterbeat Records “Hidden Musics” series offers the full gamut not just musically but visually too, and is a far more ambitious documentation of a troubled country’s lost tradition than the 2015 Hanoi Masters survey. Expanding to include 11 concatenate videos, Every Song Has Its End is the most complete purview of Mali’s musical roots yet. This is due to the project’s mastermind and architect Paul Chandler, who has documented Mali’s music scene for more than a decade.

Forgotten in some extreme cases, ignored or considered as Mali’s past by new generations, maestros of the 6-string Danh, such as Boukader Coulibaly, and the Balafon, Kassoun Bagayoko, are celebrated and interviewed for this collection. Whether it’s traversing the Gao region in the northwest to record the earthy desert pants of the female vocal ensemble, Group Ekanzam, or capturing a Sokou and N’goni love paean performance by Bina Koumaré & Madou Diabate in the heart of the country, this chronicle of the pains, virtues, trauma and spirit of the country’s musical heritage is an extraordinary love letter and testament to the country.


Bargou 08  ‘Targ’  2017

Ahh…the sounds of a dusky reedy gasba flute; the tactile patted and burnished bendir drum; the rustic, earthy strung loutar, and the flowing, soaring scale vocals of the Bargou 08 project’s chief instigator Nidhal Yahyaoui, set an impressive atmosphere in the first couple of minutes of the album’s opening track, Chechel Khater. And that’s all you’d need, except there’s another eight equally evocative and thrilling tracks to hear.

The source of this sound derives from a relatively uncharted region that lies obscured between the mountains of northwest Tunisia and the Algerian border, called the Bargou Valley, which despite its barren isolation, has cultured a unique musical fusion, stretching back hundreds of years. Captivating and magical enough in its ancestral unchanged form, the songs of the valley, sung in the local Targ dialect (a language that is one part Berber, the other Arabic), are given a contemporary jolt that transforms the atavistic paeans, odes and poetry of yore into an intoxicating swirling rapture of electronic North African funk.

Filled with a legacy of turmoil and tension that goes back an aeon the album’s many themes, from describing a lover’s vital attributes on Mamchout to laments of alienation, resonate strongly with the growing unease of events, initiated six years ago by the Arab Spring. Tunisia itself is facing a struggle and teetering on the edge, with no guarantee that certain cultures won’t just disappear or be fragmented in the ensuing melee. Originally setting out to document his Bargou Valley home’s musical heritage before it disappeared, Yahyaoui has successfully and thankfully, with his musical partner, producer and the album’s keyboard player Sofyann Ben Youssef captured this rich mesmeric culture for posterity. And in doing so, produced a masterpiece that will endure.



Širom  ‘I Can Be A Clay Snapper’  2017

With an unspecified, but as the name suggests, emphasis on the “tactile”, Glitterbeat Records new imprint label gives a welcome platform to entrancing experimental tonal performances and sonic polygenesis traverses alike. In the latter camp is this Slovenian peregrination suite from the landlocked, Alps nestling country’s visceral sonic conjurors, Širom.

Evoking memories and feelings, both real and imagined, with a soundtrack thick with atavistic connections, the trio of punk and post-rockers turn experimental folk and acoustic instrumental cartographers convey a personal relationship to their homeland, on their second album together under the Širom banner.

Yet whatever the backgrounds, traces of North Africa, the Adriatic and the Middle East, the performances sail scenically through a dreamy otherworldly representation of Slovenia: Oriental, alien and Balkan visions permeate the plucked, malleted, chimed and purposefully played compositions, which subtly and rather cleverly build up complicated layers and various overlapping time signatures during the course of their journey.

Theremin like siren voices drift in and out, enacting the myth and seraph, whilst on the watermill turning Everything I Sow Is Fatal Sun Ra travels with John Cale and Pharaoh Sanders on a pilgrimage to Samarkand. The most recurring sounds however pay testament to the Balkans ghosts. The folkloric stirrings, lulls and yearning of Slovenia’s past bordering both a pan-Europa of migration and grief – stretching back a millennia – are transduced into often haunted vistas and metaphysical passages.

A most impressive and expansive inaugural Balkans travail; different from the previous two releases on this burgeoning new imprint, yet keeping to the tactile, accentuate and imaginative remit, whilst conjuring up mystical new soundscapes.



Tamikrest  ‘Kidal’  2017

Still availed of a homeland, though now liberated from their draconian Islamist partners, the Tuareg are once again left as wanderers in their own land, the unofficial guardians and custodians of the Saharan wilderness. For now only a dream, best realized and protested through music, the rock’n’roll Bedouins Tamikrest emerge once more from the barren landscape with a message of “power and resistance” on their fourth, equally entrancing, album Kidal. Paying homage to the strategically and spiritually important cultural trading town of the title, the highly-acclaimed (and rightly so) Tamikrest exude both the sadness and suffering of the dispossessed people who cling to the southwestern Saharan hub that is Kidal: a town which has seen its fair share of fighting, fought over, conquered and reconquered over time, it remains a symbolic home to the Tuareg. This is after all the town that nurtured them and where it all began.

Assiduous, confident and articulate, the musicianship shows not so much a progression as a balance between the meditative and rock’n’roll spirit of the Tuareg musical resistance. Tamikrest are as brilliant as ever musically, and Kidal is, despite its plaintive and lamentable subject woes, a beacon of hope in an ever-darkening world of uncertainty.



Ifriqiyya Électrique  ‘Rûwâhîne’  2017

Capturing something quite unique, the collaborative industrial post-punk and avant-garde rock scenes of Europe clash head-on with the descendants of the Hausa slaves atavistic rituals styled group, Ifriqiyya Electrique, create an often unworldly chthonian conjuncture of Sufi trance, spirit possession performance and technology.

A film project and now immersive sonic experience, inspired by the important Banga music traditions and the accommodating, rather than exorcising, of spirits ceremonial wild dances and call and response chanted exaltations of the black communities – originally transported to the region from sub-Saharan Africa – in the oasis towns of southern Tunisia, this astounding meeting of cultures and history is anything but scenic.

Formed in the Djerid Desert, the idea forged by field-recordist and veteran guitarist of the politically-charged Mediterranean punk and “avant-rock” scenes, François Cambuzat, and bassist Gianna Greco – both of which occasionally join forces with that livewire icon of the N.Y. underground, Lydia Lunch, to form the Putan Club -, the Ifriqiyya Electrique spans both continents and time. For their part, Cambuzat and Greco provide the grind, industrial soundscape texturing, sonorous drones and flayed guitars, but mostly, the “electrique”, whilst, offering a dialogue with the spirits and the tradition, Banga musician Ali Chouchen – joined in the live theatre by an expanded cast of fellow voices, krabebs and Tunisian tabla players from the community, which includes Tarek Sultan, Yahia Chouchen and Youssef Ghazala – provides peripheral sounding evocative echoed and esoteric vocals and equally haunting nagharat.

Spiritual conversations transformed and realigned with the machine age turmoil of industrial noise, Arthur Baker style rock and hip-hop production, post-punk and even Teutonic techno, Rûwâhîne is a rambunctious unique force.



Park Jiha  ‘Communion’  2018

Circumnavigating the globe to bring much-needed exposure to new sounds, Glitterbeat Records imprint tak:til gives a second wind to a suite of acuity serialism from Southeast Asia. Released originally in South Korea in 2016, the neo-classical musician/composer Park Jiha’s debut solo album Communion is given an international release by the label of repute.

Inspiring what we’re told is a burgeoning Korean music scene (well, an alternative to the K-Pop craze), a chief progenitor of the movement Jiha alongside collaborative partner Jungmin Seo originally melded the country’s musical heritage with an eclectic range of contemporary sounds as the 숨[suːm] duo in 2007. Releasing the highly influential regional albums Rhythmic Space: A Pause For Breath (2010) and 2nd (2014), Park and Seo crossed the time zones to perform at both WOMAD and SXSW. Congruously putting the duo on hold to explore a more ‘personal’ and minimalistic ‘musical vocabulary’ as a solo artist, Jiha dexterously balances the air-y abstract breathes of the ‘piri’ double reed bamboo flute, the searing twang of the ‘saenghwang’ mouth organ and the softly paddled patter of the ‘yanggeum’ hammered dulcimer in what is a dialogue between a dulcet calm, the meditative and an entangled dissonance.

Transforming Korean traditions into a more experimental language that evokes the avant-garde, neo-classical and jazz yet something quite different, Park Jiha’s tranquil to entangled discourse evocations reach beyond their Southeast Asian borders both musically and metaphysically into something approaching the unique.


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