Tags: Soukous

Review: It would be fair to say that few of us are familiar with the music of Madagascar, a notably beautiful island in the Indian Ocean whose indigenous culture has rarely registered in Western Europe. Yet as this fine compilation from Strut proves, the nation once boasted a vibrant recording industry whose distinctive sounds blended strong East African influences with more traditional local sounds and the ever-present inspiration of American soul, funk, disco and boogie. "Alefa Madagascar" tells this story through sound by focusing on some of the fuzzy, electrified blends of salegy, soukous and soul popular in the country between 1974 and '84. It does a bang up job, offering up 18 essential cuts that all but the most dusty-fingered crate diggers will never have heard before.

Review: ARN4L2's first-ever solo vinyl project is a doozy. Across five cuts he looks to the dance floor from his own unique perspective and mixes up Congolese soukous, Colombian Bullerengue, Nigerian highlife, Caribbean soca, and good old house music. His style is colourful and psychedelic and it really is fresh across the hurried, skittish percussive rhythms of 'Rompecuero' and deeper Afro-funk and soul of 'Caribe.' 'Kampangola' brings great instrumental displays and 'Papasukus' is pure summer music. A super strong EP from an artist well worth watching this year.

Review: Merci Yaya Bongo: Female Animation Groups In Gabon 1982-1989 offers a spellbinding glimpse into Gabon's vibrant music scene of the 1980s. The compilation showcases the talent and creativity of several female groups and presents a diverse range of styles from Afrobeat to funk and disco. Tracks like 'Abaga Mbouga' and 'Yaya Omar Bongo' exude infectious rhythms and soulful melodies and highlight the unique sound of Gabonese music during this era. With its rare and obscure selections, this compilation serves as a valuable homage to the overlooked contributions of female artists in shaping the country's musical heritage.

Review: You could easily think this was a dusty reissue of a long-lost Afro classic. But no, it is not. Instead, it is new music from Loboko, a new group created from the rich musical melting pot that is New York City featuring young Congolese vocalist and guitar talent, Yohni Djungu Sungu, plus Soukouss-Stars associate and top bassist Ngouma Lokito. This is their debut recording and surely the first of many that will be built of jam sessions. It is traditional Congolese music with a modern twist but plenty of guitar-driven sounds from African soukous with Caribbean inspirations, Loboko's unique take on the ethnic Baluba rhythm, and elements drawn from the seben style. Utterly intoxicating.

Review: The love affair between Colombia and African music tracks back to the 17th Century and the establishment of San Basilio de Palenque, the first free town in colonial Latin America which offered refuge and commune for Black slaves. It was a place where African culture could thrive and joyously intermingle with local customs, and centuries later the Afro-Caribbean communities in Colombia established their own twist on Jamaican soundsystem culture in the 20th Century known as 'picos', where styles such as Kenyan Benga music were able to wow crowds on homemade rigs. This compilation takes a loving look at the unique guitar-picking style which developed its own distinct qualities that could only come from one time and place at the intersection of vibrant cultures.

Review: Mi Latinoamerica Sufre embarks on a musical journey that redefines the electric guitar's role within tropical Latin music. The album, crafted by the Meridian Brothers, draws from the melodious, intricate rhythms of African highlife and soukous guitar bands, popular both in coastal Colombian pico sound system dances and across Africa. Eschewing typical prog or psych rock distortions, the sound embraces a clean, pure approach, honoring '70s Congolese rumba, Ghanaian highlife, and Nigerian afrobeat. The compositions on Mi Latinoamerica Sufre intricately blend Latin rhythms like cumbia, champeta and Brazilian tropicalia with underground psychedelic rock. Through the character Junior Maximiliano the Third, the album delves into themes of self-discovery, humorously navigating through nostalgia, paranoia, and shared experiences. Alvarez's vocal versatility enriches the album's sonic storytelling, complemented by visual narratives from Colombian artist Mateo Rivano. This innovative concept album unfolds as a poignant exploration of identity, offering a fresh perspective on Afro-Latino musical traditions and psychological states.

Review: Oliver N'Goma was a Gabonese Afro-zouk and soukous singer and guitarist whosadly passed away in 2010, leaving a handful of albums and singles as his musical legacy. His debut album Bane is one of the highest selling African albums of all time and this Best Of collects songs taken from that and other releases, all hand picked by the artist himself a few years before his death. For the very first time, this compilation is now available on vinyl - so, what are you waiting for?!