Back catalogue: Rock (All)

Review: For seven years, Matasuna Records has been dedicated to uncovering musical gems from the past. Now, they introduce a thrilling contemporary find: Barcelona-based band Bidaide. Their debut 7" vinyl single features two unreleased tracks, 'Batua' and 'Love Me & Give Up', both of which showcase their eclectic blend of soul, funk, psychedelic rock, reggae-dub, and library music. 'Batua' on the A-side delivers an energetic fusion of funky rhythms, agile guitar dialogues, and vibrant brass overlays. On the B-side, 'Love Me & Give Up' offers a soulful, relaxed vibe with Motown-esque charm. Bidaide's evolution from a duo to a vibrant band culminates in this dynamic release.

Review: Osei Korankye hails from Accra, Ghana and is a talented musician known as one of his homeland's last remaining seperewa musiciana. These tracks throw it back to the heyday of the sound in 1970 but were recorded in Brooklyn, NY as well as Accra when Korankye linked up with Super Yamba bandleader and drummer Daniel Yount for a few gigs in New York City in 2017. It was an effortless collaboration that resulted in some super psychedelic funk tunes that are designed for carefree dancing.

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.

Review: The Mighty Cavaliers was a flagship project for legendary Kenyan musician Daudi Kabaka, although the band only released two albums between 1976 and 1977. The second of these, Mapendo has long been overdue a reissue and now it's finally in reach for a wider audience. If you appreciate the approach to funk adopted in Kenya around this time, this album is nothing short of essential. You might draw parallels with Fela Kuti's ground-breaking Afrobeat sound in Nigeria from the same era, but there's a sharper attack to the grooves Kabaka lays down, not least on the likes of 'Mambo Bado'.

Review: Shango is the name for the Yoruba 'Thunder God' in Nigeria and Ojo Okeji, the leader of the Shango Dance Band was all about injecting military power and warlike energy in his own strain of Nigerian highlife and afrobeat. However, apart from all of Okeji's cult-like stories involving him and his part in the Nigerian army during a time of civil unrest in the late 60's and through to the 70's, and his often troublesome relationship with the great Fela Kuti, the truly special aspect of the Shango Dance Band album is that it was never properly released following its production in 1974. Comb & Razor have done the right thing here and, without them, this magical LP would still be locked away in the never-ending vaults of Nigerian music. This is very personal, incredibly singular African jazz-dance with a raucous psychedelic edge that lifts it high and mighty above the competition. A truly special album - DO NOT MISS IT.

Review: Having explored the rich heritage of Nigeria and Ghana with well researched vigour, Soundway turn to Kenya for their next adventure... A rare insight: while Lagos was churning out seminal Afrobeat compositions, Kenya took to western influences in a much subtler fashion. With heavy emphasis on the Kenyan benga and Afro-Cuban rumba there's a much deeper, local folk presentation and format throughout most of the selection. Complete with detailed notes and beautiful presentation (like all Soundway compendiums) this won't look out of place in any collection.

Review: Zamrock, anyone? Often stylised as W.I.T.C.H, WITCH were one of the leading musical lights of post-colonial Zambia, a band that rose to prominence during the early-1970s, a particularly fertile period in the East African nation during which hopes for the future were incredibly bright. Independence leading to the blossoming of homespun ideas, culture, art and creativity. The story takes a tragic turn as the decade reached its final years, the economy collapsing and policymakers turning increasingly authoritarian. Like many in the 'scene', WITCH would fade, almost into obscurity, although the psychedelic rock-hued legacy they left survived, and then experienced a resurgence from 2012, when they reformed amid renewed interest. Kuomboka represents the group at the height of their fame, an album that still sounds packed with optimism, despite insidious changes in the air when it landed in 1976.