‘Azerbaijani Gitara Volume 2’ Displays Rəhman Məmmədli’s Guitar Genius
Azerbaijan’s Rəhman Məmmədli dazzles, deserving of recognition for his imaginative reconfigurations of longstanding forms and palpably impassioned playing.
Azerbaijan’s Rəhman Məmmədli dazzles, deserving of recognition for his imaginative reconfigurations of longstanding forms and palpably impassioned playing.
Aba Diop’s commanding voice soars at an electrifying pitch on every song, calling out local histories, genealogies, and moral messages: a human archive.
Ghana Special 2 possesses a wide range of styles. The 18 substantial tracks are packed with synths, horns, and driving beats.
MESTIZX is unquestionably cosmic, but it’s also grounded in the real lives and spaces of artists who refuse to be broken into cultural shards.
Cyril Cyril’s Le Futur Ça Marche Pas is for agitators, a genre-be-damned assemblage of poetry and vivid effects in the form of well-produced electronic rock.
Home records vocal expressions of pain, love, and life at Kutupalong, bringing Rohingya refugee experiences into its audiences’ aural consciousnesses.
Ibibio Sound Machine have gone from exciting transcontinental party upstarts to a soulful, sophisticated phenomenon. Pull the Rope is a refreshing new chapter.
Berlin’s Jembaa Groove tap into the sonic palettes of African and diasporic forms like highlife and jazz to create a truly elevated work of art.
Avalanche Kaito’s Talitakum is one of the most intriguing albums this year so far. It’s a work of futurist folk-rock and a mixed-media sculpture.
Bagus Shidqi’s Njondhil Njondhal is a work full of heart and belief in keeping gamelan vibrant and available to contemporary practitioners and audiences.
Abdallah Oumbadougou’s music is astounding, with guitar lines that seep into one’s pores and lyrics addressing revolution, homesickness, and lost love.
On Musow Dance, energy is as vital as ever as Les Amazones d’Afrique continue to celebrate womanhood over some of their most engaging beats to date.