MUSIC

Martin Khanja (aka Lord Spike Heart) and Sam Karugu emerge from Nairobi's flourishing underground metal scene as former members of the bands Lust of a Dying Breed and Seeds of Datura. Together in 2019 they formed Duma (Darkness in Kikuyu) with Sam abandoning bass for production and guitars and Lord Spike Heart providing extreme vocals to the project. 

Recorded at Nyege Nyege Studios in Kampala over three months in mid 2019 their self-titled debut album fuses the frenetic euphoria, unrelenting physicality and rebellious attitude of hardcore punk and trash metal with bone-crunching breakcore and raw, nihilist industrial noise through a claustrophobic vortex of visceral screams. 

The savant mix of brutally adrenalized drums, caustic industrial trap, shredding grindcore inspired guitars and abrupt speed changes create a darkly atmospheric menace and is lethal on tracks like the opener "Angels and Abysses" , "Omni" or "Uganda with Sam". 

The gruelling slow techno dirges and monolithic vocals on "Pembe 666" or "Sin Nature" add a pinch of dramatic inevitability bringing a new sense of theatricality and terrifying fate awaiting into the record's progression. 

A sinister sonic aggression of feral intensity with disregard for styles, Duma promises to impact the burgeoning African metal scene moving it into totally new, boundary-challenging experimental territories. 

Olvido Records, a new label distributed by Mississippi that has made a splash by reissuing Greek music from the 1930s, has released a compilation of rare tracks by Kenyan acoustic guitar virtuoso George Mukabi. !!!!

Bouncing between his local musical styles of "nyatiti lyre" and "sukuti His "omutibo" guitar style, which bounced off the "nyatiti lyre" and "sukuti" styles of his local music, had spread from West Africa to East Africa by the time Mukabi died in 1963. This is a traditional and simple storytelling style that has been passed down from generation to generation in Kenya. The guitar is very funky and there is no room for mis-tone. Even in the old recordings, you can hear the clawed guitar, simple percussion, and powerful singing. It's a happy groove that makes you want to hum along with them over a drink. Even if you don't listen to it with the same groove as the documentary, this recording will still be as great as ever. As long as there is a listener.

John Ondolo spent his life traveling between Tanzania, where he was born, and Kenya, where he recorded a string of singles for independent labels in the late 1950s and early 60s. Unlike most guitarists from the region, Ondolo used open tuning (a favorite of American blues guitarists), creating a hypnotic drone over which he laid down endless rhythmic variations on his main themes. Inspired by the exploding pop music scene in Nairobi, the newest rock and roll imports from the US, and the Abakuria tribal music of his youth, Ondolo transposed traditional instruments and rhythms to his guitar, playing it more like a traditional harp at times, and inventing a sound totally unique in the recorded history of African guitar.  This album brings together John Ondolo’s rare early 78rpm recordings in the first-ever overview of this innovative but overlooked artist. The music traces Ondolo’s creative output, from the resonant acoustic guitar masterpiece Tumshukuru Mungu to the relentless guitar and flute (!) interplay of Kenya Style to his later electric guitar, bass, and drum recordings with the Jolly Trio, all tied together by Ondolo’s unique rhythmic sense and vocal style. The breadth and variety of Ondolo’s recordings may be a result of his sporadic recording history. Unlike more famous artists, Ondolo wasn’t sucked into the Nairobi nightlife scene of the early 60s, instead traveling from his farm in the foothills of Kilimanjaro on occasion to record. An outsider and devout Catholic whose music was sometimes at odds with the style of the times, he later left music entirely, shifting to film and driving a mobile cinema van for the Tanzanian government, introducing socialist and Pan-African films to the countryside. An accident in his mobile cinema led to the loss of his left arm, though he continued his travels. He died in 2008 in Dar Es Salaam, leaving behind two wives and 11 children.  Over a decade in the works, Hypnotic Guitar of… includes an insert with lyrics and translations, as well as notes by Tanzanian musician and historian John Kitime. Expertly restored and mastered by Michael Keiffer and pressed on 160gm black vinyl at Smashed Plastic in Chicago. Licensed from the Ondolo family in Tanzania.

Frank and His Sisters is a family band formed by Frank Humplick, Thecla Clara, and Maria Regina in the early 1950s in Moshi, a Tanzanian city located in the rolling hills of the southern foothills of Mount Kilimanjaro. Frank and His Sisters, a family band formed by Frank Humplick, Thecla Clara, and Maria Regina in the early 1950s, is known for their tours and recordings throughout East Africa with their fans. The album is a dreamy fusion of John Fahey's fingerstyle, The Carter Family, The Beach Boys, and Tanzanian music from the golden age. It's an idyllic sound to listen to on a sunny afternoon with the windows open!

Uganda's famous Nyege Nyege Tapes festival, and in 2020 at the legendary nightclub Berghain in Berlin with avant-garde acts Gabber Modus Operandi and Harsya Wahono from Jakarta. The self-titled debut album of Nakibembe Embaire Group, who appeared on the album, is now available. Nakibembe is a small village in Uganda's Busoga Kingdom (one of four existing constitutional monarchies). Since ancient times, locals have set aside communal spaces for musical performances and social events. In its center was a deep hole, crossed by a groove to amplify a gigantic xylophone "enver" consisting of 15-25 wooden keys. While log xylophones are common in East Africa, the music played by the Basoga, an ethnic Bantu tribe in the east, is extremely special and unique, with its own tuning, dance, and auxiliary instruments. They are said to be the last group where up to eight players can play simultaneously around the enver, layering hypnotic polyrhythms while the ensemble members play vocals, shakers and drums. Its trance-like sound, fused with meandering polyrhythms and dazzling vocals, makes the past, present, and future seem to align.

A masterpiece that has been loved since its publication in 1968 from the long-established folk music store Okora! Recorded in 1967, Central Africa is a field recording of the Republic of Burundi. There are only wonderful recordings that you can't see in Japan, such as the dubious sound of a stringed instrument similar to Gnawa and the unique singing style like an Inuit.

Strut introduces a pioneering new compilation 'A Dancefloor In Ndola,' curated by revered East African DJ, Kampire. Forging her reputation through memorable sets for the Nyege Nyege Festival in Uganda over the last decade, Kampire now tours worldwide and is celebrated for her brilliantly curated sets spanning the full range of African music styles from the ‘70s and ‘80s to the present day. Although born in Kenya to Ugandan parents, Kampire spent her formative years in Ndola, Zambia. ‘A Dancefloor In Ndola’ is inspired by artists and songs that formed part of her soundtrack during that time. “It is important for me to continually reference Africa’s own musical history,” she explains. “At 17, I didn’t pick up on my Dad’s music but now I love and collect those records. I’m constantly referencing them in my music sets today. I love that feeling of shared nostalgia where people recognise a song they haven’t heard in a long time. It is a touchstone for me when I’m playing.” The compilation flows through different East African and South African genres from Congolese rumba and soukous to 1980s township bubblegum and the rich guitar-led sounds of Zambian kalindula. “There are styles of music on the compilation which are often considered unsophisticated from rural areas. I and other contemporary African artists and DJs draw inspiration from them; it is part of what makes us ourselves.” Kampire also shines the spotlight on many incredible women in African music from the ‘80s, including Congolese legends like Pembey Sheiro, Feza Shamamba and Princesse Mansia M’bila to V-Mash and Di Groovy Girls from South Africa.

From the late 1960s until the early 1990s, a vibrant music scene in Somalia’s capital Mogadishu was teeming with pop and folk musicians exploring the boundaries of regional sensibilities. With influences spanning several genres of Somali traditional music, often meshed with Western pop, jazz and Middle-Eastern elements, a swirling diversity of sounds were being created, consumed, supported and encouraged. 

Dur-Dur Band emerged during a time when Somalia’s distinctive contribution to the creative culture in the Horn of Africa was visible and abundant. Thousands of recordings made at the Somali National Theatre, Radio Mogadishu and other studios, were complemented by the nightclubs at Hotel Juba, Jazeera Hotel and Hotel al-Curuuba, creating a flourishing music scene.  

Bands like Dur-Dur, Iftin, Shareero, on one hand, were inspired by everyone from Michael Jackson and Phil Collins to Bob Marley and Santana, as well as James Brown and American soul music. Equally active were groups performing regional folk musics and promoting the traditional side of Somali music. These groups helped develop a continuity with historical musical practices and oral literature that persist in popularity to this day. Seminal outfits like Waaberi and Horseed, in addition to a litany of celebrated qaraami musicians, generated a legacy of masterworks. These seasoned musicians’ efforts rippled through the music scene and spread to countries beyond as many artists began to emigrate when the country destabilized. 

This recording, which was remastered from a cassette copy source, is a document of Dur-Dur Band after establishing itself as one of the most popular bands in Mogadishu. The challenge of locating a complete long-player from this era is evidenced by the fidelity of this recording. However, the complex, soulful music penetrates the hiss. 

By 1987 Dur-Dur Band's line-up featured singers Sahra Abukar Dawo, Abdinur Adan Daljir, Mohamed Ahmed Qomal and Abdukadir Mayow Buunis, backed by Abukar Dahir Qasim (guitar), Yusuf Abdi Haji Aleevi (guitar), Ali Dhere (trumpet), Muse Mohamed Araci (saxophone), Abdul Dhegey (saxophone), Eise Dahir Qasim (keyboard), Mohamed Ali Mohamed (bass), Adan Mohamed Ali Handal (drums), Ooyaaye Eise and Ali Bisha (congas) and Mohamed Karma, Dahir Yaree and Murjaan Ramandan (backing vocals). Dur-Dur Band managed to release almost a dozen recordings before emigrating to Ethiopia, Djibouti and America.   

Dur-Dur Band was considered a “private band,” not beholden to government pressure to sing about political topics. They practiced a love- and culture-oriented lyricism. Government-sponsored bands like those of the military and the police forces, as well as many of the well-known folk musicians, made songs that were chiefly political or patriotic in nature.  

In a country that has been disrupted by civil war, heated clan divisions and security concerns, music and the arts has suffered from stagnation in recent years. Many of the best-known musicians left the country. Music became nearly outlawed in Mogadishu in 2010. Incidentally, more than ten years after Volume 5 (1987) was recorded at Radio Mogadishu, the state-run broadcaster was the only station in Somalia to resist the ban on music briefly enacted by Al-Shabab.  

Dur-Dur Band is a powerful and illustrative lens through which to appreciate a facet of the incredible sounds in Somalia before the country's stability took a turn. But Somali music of all kinds continues to thrive thanks in part to the diaspora living in cities worldwide. An extensive network of news, music and video websites, along with dozens of voluminous YouTube channels, makes clear an exciting relentlessness among artists. Reports of musicians returning to Mogadishu from years abroad bodes well for the immediate future of music and expression in Somalia. 

The Sator Arepo, or Sator Square, is an ancient word puzzle comprising five palindromes that's etched on various historical sites throughout the Western world. Its origins are unknown, but the square has long been thought to hold magical properties, used as a charm against illness and evil, to cure insanity or to determine whether someone was guilty of witchcraft. Self-styled "punk ethnomusicologist", acoustician and musician Julien Hairon uses this mystical symbol as the starting point for his debut Judgitzu album in an attempt to reconnect with his Celtic heritage, exploring how its hallowed messages might harmonize with contemporary Tanzanian dance music.Hairon has been traveling across the world for over a decade, collecting field recordings from countries such as Indonesia, Australia, Cambodia, China and Bangladesh, and presenting them on his Les Cartes Postales Sonores label, re-issuing any curious cassettes and CDs he came across on the PetPets' TAPES imprint. It was during this time that he became fascinated by rituals that involved spirits, prompting him to examine his own ancestry when he returned to Brittany. "Many artifacts in the landscape remain," Hairon explains, "and the power of spirits is still palpable." He represents this Celtic mysticism on 'Sator Arepo' with murky drones and magickal synth tones, using xenharmonic scales (tuning outside of standard 12-tone equal temperament) that reach back to the ancient world. These sounds are augmented with fast-paced, sci-fi rhythms informed by his time in Tanzania; "Singeli has contaminated me," admits the producer.The most astonishing example of this is 'Miracle', a thrusting soundsystem experiment that layers serpentine, bagpipe-esque electronic wails over extravagant clusters of blocky percussion. Driven by the frenetic 175BPM pulse that echoes through the streets of Dar Es Salaam - popularized globally by forward-thinking producers like Sisso, Duke and Jay Mitta - Hairon opens up a rare conversation, seeking to draw parallels between today's most urgent dance forms and the archaic rituals of antiquity. On 'Vitalimetre', Hairon drives his sonic palette into the red, harmonizing with Dutch hardstyle and gabber, and splaying distorted drones over maddeningly blown-out kicks and ratcheting percussion. 'L'or Des Fous' takes a more meditative route, prioritizing Hairon's eccentric tonality with expressive sheets of pitch-warped sound that ghost walk across energized, rattling beats.If you heard Hairon's last Judgitzu release 'Umeme / Kelele', described by Boomkat as "one of 2019's deadliest dancefloor sessions," then you'll know how mindboggling this material can be. And with 'Sator Arepo', the French producer deepens his reach, grasping a world that we've almost forgotten and juxtaposing it with a landscape most of us barely comprehend.

From the late 1960s until the early 1990s, a vibrant music scene in Somalia’s capital Mogadishu was teeming with pop and folk musicians exploring the boundaries of regional sensibilities. With influences spanning several genres of Somali traditional music, often meshed with Western pop, jazz and Middle-Eastern elements, a swirling diversity of sounds were being created, consumed, supported and encouraged. 

Dur-Dur Band emerged during a time when Somalia’s distinctive contribution to the creative culture in the Horn of Africa was visible and abundant. Thousands of recordings made at the Somali National Theatre, Radio Mogadishu and other studios, were complemented by the nightclubs at Hotel Juba, Jazeera Hotel and Hotel al-Curuuba, creating a flourishing music scene.  

Bands like Dur-Dur, Iftin, Shareero, on one hand, were inspired by everyone from Michael Jackson and Phil Collins to Bob Marley and Santana, as well as James Brown and American soul music. Equally active were groups performing regional folk musics and promoting the traditional side of Somali music. These groups helped develop a continuity with historical musical practices and oral literature that persist in popularity to this day. Seminal outfits like Waaberi and Horseed, in addition to a litany of celebrated qaraami musicians, generated a legacy of masterworks. These seasoned musicians’ efforts rippled through the music scene and spread to countries beyond as many artists began to emigrate when the country destabilized. 

This recording, which was remastered from a cassette copy source, is a document of Dur-Dur Band after establishing itself as one of the most popular bands in Mogadishu. The challenge of locating a complete long-player from this era is evidenced by the fidelity of this recording. However, the complex, soulful music penetrates the hiss. 

By 1987 Dur-Dur Band's line-up featured singers Sahra Abukar Dawo, Abdinur Adan Daljir, Mohamed Ahmed Qomal and Abdukadir Mayow Buunis, backed by Abukar Dahir Qasim (guitar), Yusuf Abdi Haji Aleevi (guitar), Ali Dhere (trumpet), Muse Mohamed Araci (saxophone), Abdul Dhegey (saxophone), Eise Dahir Qasim (keyboard), Mohamed Ali Mohamed (bass), Adan Mohamed Ali Handal (drums), Ooyaaye Eise and Ali Bisha (congas) and Mohamed Karma, Dahir Yaree and Murjaan Ramandan (backing vocals). Dur-Dur Band managed to release almost a dozen recordings before emigrating to Ethiopia, Djibouti and America.   

Dur-Dur Band was considered a “private band,” not beholden to government pressure to sing about political topics. They practiced a love- and culture-oriented lyricism. Government-sponsored bands like those of the military and the police forces, as well as many of the well-known folk musicians, made songs that were chiefly political or patriotic in nature.  

In a country that has been disrupted by civil war, heated clan divisions and security concerns, music and the arts has suffered from stagnation in recent years. Many of the best-known musicians left the country. Music became nearly outlawed in Mogadishu in 2010. Incidentally, more than ten years after Volume 5 (1987) was recorded at Radio Mogadishu, the state-run broadcaster was the only station in Somalia to resist the ban on music briefly enacted by Al-Shabab.  

Dur-Dur Band is a powerful and illustrative lens through which to appreciate a facet of the incredible sounds in Somalia before the country's stability took a turn. But Somali music of all kinds continues to thrive thanks in part to the diaspora living in cities worldwide. An extensive network of news, music and video websites, along with dozens of voluminous YouTube channels, makes clear an exciting relentlessness among artists. Reports of musicians returning to Mogadishu from years abroad bodes well for the immediate future of music and expression in Somalia. 

Dancehall might have emerged in Jamaica, but over the last few decades the popular genre's tendrils have stretched out across the globe. In Kampala, Ratigan Era is adding a distinct Ugandan twist to dancehall, fusing it with East African humor and hyper-melodic afrobeats elements imported from Ghana and Nigeria. The versatile MC grew up listening to Jamaican music like Vybz Kartel, Busy Signal and Mavado - in his hometown of Kawempe there was almost no way to avoid it - and it blurred into the background, blending with local church music, US hip-hop and radio pop. He developed this diverse range of influences into a completely unique Afro-dancehall flow that simmers between Luganda, patois, Spanish and English, reflecting the melting pot of cultures and dialects that characterizes contemporary Africa.Ratigan broke out with a memorable feature on Pallaso's Ugandan hit 'Nsaba', a track that echoed throughout the country booming from nightclubs, motorcycle loudspeakers or from convenience stores. Now he's assembled his first album "Era", a furiously inventive interweaving of rubbery vocals and memorable chants backed by futuristic beats from Hakuna Kulala's most boundary-pushing producers. Congolese producer Chrisman takes the reins on 'Gorilla Attack', providing a downtempo groove that echoes recent Jamaican chop deployments from breakthrough artists like Skillibeng and Skeng. For his part, Ratigan ducks and dives between Chrisman's gqom-inspired low end womps and corrosive synths, commanding attention with his smart, dextrous flow and tongue-twisting lyrics.The Modern Institute and Golden Teacher's Richard McMaster handles 'Top Strike Force' leaving space in his wiry, minimal beats for Ratigan to flit between anthemic repetitions and ice-cold AutoTuned wails. On stand-out track 'Badman Style', Ratigan's guttural patois is measured against a dizzy trap-dancehall hybrid beat from HHY & The Kampala Unit's Jonathan Uliel Saldanha, aka Lithium Beats, while on the surreal 'Drop it Down', Japanese mad scientist Scotch Rolex brings out Ratigan's cheeky sense of humor with toytown bleeps and laser zaps. MC Yallah collaborator Debmaster appears on 'Gan Dem', meeting Ratigan's double-time raps with soundsystem destroying rolling subs, and veteran US noisemaker Kush Aurora sprinkles magic dust on 'Cool and Deadly', galvanizing the link between global bass mutations, Jamaica and East Africa.And despite the grab-bag of producers and inspirations, "Ratigan" is a strikingly coherent listening experience that accurately snapshots Kampala's colorful froth of sounds and phrases. Ratigan's outsized personality is welcoming and captivating, providing the sights, sounds and smells of the city with a frenetic rhythm that's as intimate and local as it is far-reaching. It might just be the future we so desperately need.

From its founding in the late 14th century, the kingdom of Buganda has been celebrated through sound and nurtured a rich musical tradition in its royal court. Coming from across the kingdom, musicians would take turns in the palace to sound drums, xylophones, flutes, lyres, and more to praise and honour the existence of the kingship. In recent years however, the tradition has been more difficult to maintain, especially since 1966 where there was a violent attack on the palace that abruptly abolished the kingdom and during which royal musicians fled or were killed. And while the kingdom was re-established in 1993 as a cultural institution, many of the remaining musicians had since chosen to sideline their skills to deal with the issues of their day to day lives, the practice of the royal tradition waning in popularity, especially with younger listeners and players. But all is not lost. Scattered across the kingdom, a motivated team of older veterans and attentive young players are still keeping the tradition alive. Offering a transversal glimpse into the past and the present, "Buganda Royal Music Revival" collects recordings made in between the late 1940s and 1966 illustrating the older generation’s skills, and presents them alongside recent recordings featuring old and young musicians who still carry on this musical tradition, some even performing for the current king, Muwenda Mutebi II. The later were made during the shooting of the 2019 documentary “Buganda Royal Music Revival” that presents through a film what this album conveys through sounds: a packed dive into a century-old tradition. The music displayed here is diverse and vibrant, presenting a variety of styles and highlighting instruments that illustrate the depth and sophistication that stemmed from the royal court experience of Buganda. As a starter, the album opens with 'Mujaguzo'. Often translated as ‘The Drums of the Kingship’, the mujaguzo is a crucial ensemble for the cultural tradition, made from drums collected by the kingdom throughout its long history and numbering around 100 drums (historical records suggest there were at some point over 300). They are the vitality of the kingship packaged into sound. From here, we're introduced deeper to an array of instruments and textures, like the buzzing Bugandan lyre (endongo) by contemporary royal player Albert Bisaso Ssempeke, the resonant akadinda xylophone with its 21 large wooden keys, Temutewo Mukasa's restless praise sung with his harp (ennanga), the hand-made gourd trumpet (amakondere), the entenga "drum-chime" and its core set of 12 drums tuned like the amadinda xylophone, or the tightly intertwined melodies of the flutes ensemble (abalere). With the music, the hissing and swishing sounds of old tapes reminds at times the listener of the long process, from the original recording to its archival digitization, that allows the talent of past musicians to still vibrate nowadays. This rousing selection of music and moods is a unique and all too rare exploration of sounds that celebrates the common history of generations of musicians, and the question remains open as to how this rich cultural tradition will shape and be shaped by the upcoming Bugandan future, and what engagement it will trigger among audiences within, but also beyond, the kingdom of Buganda.

A massive honor to be releasing the first in a four volume retrospective of one of Africa’s most influential musicians of the last 30 years - kuduro and tarraxinha pioneer and originator DJ Znobia. A genius of street music and the pivotal visionary of Angola’s digital musical modernism, Znobia is the inventor. Nyege Nyege Tapes went through over 700 tracks in Znobia’s archive (with double that number reputed to have been lost) to prepare a 4 Volume retrospective of his musical output from the late 90s to mid 2000s. Hailing from the musseke - or shantytown - of Barrio Do Rangel in the Angolan capital of Luanda, DJ Znobia was born Sebastião Lopes in 1979. In the late 1990s, DJ Znobia embarked on a journey to create a new genre that would capture the energy and spirit of the South West African country, the second biggest Portuguese speaking country in the world after Brazil. Znobia initially found renown as a dancer particularly fond of Michael Jackson, before teaching himself how to produce with Fruity Loops. Inspired by the fusion of traditional Angolan rhythms with electronic beats, he began experimenting with different sounds and styles. Through his tireless efforts, he eventually developed a genre that would revolutionise the Angolan music scene: kuduro. Kuduro, which means "hard ass" in Portuguese, combines elements of traditional Angolan music such as semba, kilapanga, and kazukuta with modern electronic beats, resulting in a high-energy and infectious sound. DJ Znobia's innovative use of synthesisers, drum machines, and sampled vocals gave kuduro its distinctive character, and he quickly gained recognition as the genre's pioneer and leading producer. The fact that much of his output happened while Angola was in the grip of a terrible civil war, which only ended in 2002, makes his story even more remarkable. With his groundbreaking productions, DJ Znobia paved the way for the widespread popularity of kuduro both in Angola and internationally in America and Europe. His tracks, such as “Batida 13 Horas'' became anthems of the genre, and his collaborations with local artists helped to propel kuduro into the mainstream. Kuduro has been hugely influential in Afro-diasporan communities in Portugal , and especially with the Príncipe Discos DJs and producers such as Dj Marfox, Dj Nervoso and Niggafox. In 2008, kuduro first arrived on the international scene, when British-Sri Lankan rap superstar M.I.A. collaborated with Znobia and Buraka Son Sistema on the single Sound of Kuduro which appeared on M.I.A.’s 2007 album Kala. DJ Znobia's influence as a producer, DJ, MC and public figure has had a great imprint in Angolan culture for the better part of the last three decades. He is also considered one of the pioneers of the hugely popular tarraxinha genre of music and dance; the sexy, percussive cousin of kizomba; the name means “little screw/ screwdriver”.

"Sounds of Pamoja" is Nyege Nyege Tapes' latest foray into the world of Tanzanian Singeli, the breakneck dance strain that's quickly moved from Dar es Salaam throughout the world. Following "Sounds of Sisso", a compilation that focused mostly on the Tanzanian capital's Sisso Studios, this set highlights recordings from Duke's Pamoja Records. And while its predecessor brought attention to the producers, "Sounds of Pamoja" showcases the wide variety of MC talent under the Pamoja Records umbrella, with production mostly handled by Duke. Tanzania is a country of young people - almost half of its population is under 15 years old - and singeli is a young genre. Duke started making music when he was 13 years old, and by the time he was 18 he had opened the Pamoja Records studio. He's joined on the compilation by a talented cast of young local talent: 20 year old Pirato MC, 19 year old Dogo Kibo, 20 year old MC Kuke, Dogo Lizzy, MC Dinho, MC Kidene and MCZO, the versatile rapper who accompanied Duke on a selection of global tour dates. The music is fresh and unpredictable, switching beats every few bars and rattling through hyper-local dance styles with jagged, joyful ease. But it's the MCs that push "Sounds of Pamoja" to the next level, capitalizing on the vitality of Dar es Salaam's musical landscape as they trade bars, switch flows and somehow keep up with Duke's lightning-fast productions. It's breathtakingly unique dance music that recalls the youthful spirit of Detroit techno or footwork, with rapid body movement, social combustion and tongue-twisting lyrical one-upmanship guiding the rudder.

Bamanya is responsible for building Africa's first DIY modular synthesizer, a huge wall of home-made modules and FX units that he dubbed, fittingly, The Afrorack. His reason for embarking on this difficult project was simple: as he began to investigate the world of modular synthesizers, he realized it would be difficult to acquire the technology in Uganda. Not only were there relatively few retailers across the whole of Africa, but the modules were often prohibitively expensive. After quick search online, Bamanya realized he could easily download circuit diagrams and buy the required parts locally, so he taught himself electronics and constructed a CV-controlled system that's been evolving ever since. "The Afrorack" is Bamanya's debut album and displays the producer's untethered creativity and restless energy. He's all too aware that these modules were developed with European and American musical styles in mind, so developed his own musical methodology and language to coax the system into suiting his needs. His starting points are often abstractions of acid and techno, but Bamanya curves East African rhythms and different scales into these familiar structures, splintering them into fractal shards. "I believe Africa is at that point where people are getting new tools which were not available to them, and then experimenting with them in a different context, because Africa has its own traditional music," he told Pan African Music back in 2019. This attitude is most evident on 'African Drum Machine', where Bamanya uses a Euclidean rhythm sequencer to divide his CV signals into complex algorithmic patterns that mimic the polyrhythmic structures that exist in many East African musical forms. If you're not listening closely it might sound like 4/4 techno, but focus your attention and you'll hear different layers of drums and jagged oscillators bouncing between each other creating hypnotic new rhythms. Bamanya takes a similar approach on 'Why Serious', fuzzing dubby basslines and plasticky percussive sounds into a frenetic hybrid of abstract electronics and fwd-thinking East African club sounds. At times, Bamanya's meditative, bass-heavy compositions echo the psychedelic sounds of Shackleton or Adrian Sherwood's African Head Charge, particularly on tracks like 'Inspired' and 'Last Modular'. With lysergic tonal shifts and precision-engineered drums, both tracks sound defiantly metallic, but sculpted by a producer who's always completely in control as he introduces risky eccentricities like feline groans and videogame blips. And on less beat-heavy tracks like 'Osc' and 'Rev', Bamanya makes a conscious nod to the history of modular music, approaching the kosmische universe of Popol Vuh, Klaus Schulze and Emeralds, augmenting it with East Africa's idiosyncratic rhythmic intensity. "The Afrorack" is the beginning of a conversation that's been long overdue.

My Strong Will is a new album of "Ethiopian Classical Music" by Girma Yifrashewa. Recorded with Bulgarian musicians and the Sofia Philharmonic Orchestra in Sofia, Bulgaria, the album is a return to where Yifrashewa completed his own conservatory training in the late 1980s and early 1990s, across both sides of the fall of Communism. Guided by Yifrashewa's piano, these chamber works bring the music of Ethiopia into a Western Classical format, uncovering meditative and emotional new vistas for both traditions.

Source of Denial is the second LP from Nihiloxica, the Bugandan techno outfit hailing from Kampala, Uganda. It comes after more than three long years since Kaloli, their acclaimed debut on Crammed Discs.

The album points a (middle) finger at the hostile immigration and freedom of movement policies implemented in the UK, as well as across the world. Fueled by their frustrations with this intentionally convoluted system, the group have produced their most cataclysmic effort to date.

Returning to the Nyege Nyege studio in Kampala where the band recorded their early EPs, the band tracked Source of Denial over an intense month of sessions in early 2022. The cover art is emblazoned with an ultra-metallic new logo, echoing the growing presence of metal influences across the tracklisting, while the hi-vis, official-document styling wryly evokes the bureaucratic nightmare at the heart of the project. Tracks like Asidi and Baganga flirt with the dystopian, mechanical patterns and tonalities of djent godfathers Meshuggah, while the gargantuan synth line of the title track summons the spirit of an 8-string guitar, synthesised palm-mutes and all. This is all effortlessly compounded with the molotov cocktail of Bugandan ngoma (drums) and club sounds the group have become revered for. On tracks like Olutobazzi, Postloya and Trip Chug, the drums themselves are reanimated and manipulated more than ever before, further blurring the line between tradition and techno.

The only spoken words we hear throughout the album, outside of studio outtake Preloya, are computer generated. They speak of application processes, character backgrounds, and accountability, blasted through crackled phone speakers. The effect is a Kafkaesque feedback loop: an avalanche of constant call tones, uncanny British accents and rigorous interrogative questioning. The frustrations are a problem the band, a defiantly global outfit, has faced continuously. A whole UK tour was cancelled in 2022, and recently, a UK show had to be performed with only three members due to problems with a certain conglomerate visa agency who “provide services” for the UK, as well as a growing number of countries.

“We wanted to create the sense of being in the endless, bureaucratic hell-hole of attempting to travel to a foreign country that deems itself superior to where you’re from. We’re focussing on the UK as that’s where we’ve had the most trouble, but the problem goes much, much further. In this system if you have a certain passport or have even visited a certain country then you’re an appropriate subject to be interrogated and insulted time and time again just to prove that you’re worthy to enter, and normally this involves proving you have a good enough reason to want to leave again! The arrogance of it is unbearable. This album was a way to express our disdain towards it... What exactly is the source of your denial? Your passport? Your bank balance? Your skin colour? You’ve paid huge sums of money to be thrown from one profit-driven “service centre” to another, each denying responsibility, each limiting your right to freedom of movement as a human being. Despite some other serious humanitarian shortcomings, Uganda accepts some of the highest numbers of refugees in the world. Meanwhile the UK is trying to send them away to Rwanda. That says it all.” - Nihiloxica

Having toured the world with Mczo and been at the helm of his own studio Pamoja Records since he was just 18, influential Singeli producer Duke, now 25, is one of Tanzania's busiest club alchemists. On his acclaimed solo debut "Uingizaji Hewa" we were introduced to his idiosyncratic "hip-hop Singeli" sound, a slower cousin to the Dar Es Salaam-rooted hard 'n fast club template that takes as much special sauce from Busta Rhymes and Eminem as it does the 200BPM clatter of genre veterans Jay Mitta and Sisso.On September's "Sounds Of Pamoja," we were treated to a closer look into Duke's studio, and specifically at his work with the city's best young MCs like Dogo Kibo, Pirato MC and MC Kuke. "Early Instrumentals" allows us to witness the depth of Duke's evolution with a selection of unearthed genre melting Singeli mutations laid completely bare without vocals.This 11-track set features some of his most arresting hybrid dance music yet, expressing his visionary fusion of contemporary rave sounds, US rap attitude, and Tanzanian dance history. While the roots of Singeli are in taraab, a popular fusion of East African and Middle Eastern traditional dance rhythms and melodies, Duke steers the sound into a synth-led, syncopated firework display that sounds spry and futuristic.Centered arounda bumping staccato melody and urgent synth strings 'Dukelo Fl Sing' echoes the lo-swung swagger of early Dr. Dre productions, but kicks the tempo into overdrive, decorating any gaps with flickering late-nite synths. 'Beat Kali Duke' meanwhile drives carnival trance leads through hard and fast rolls of kick drums, whistles and woodblock cracks. It's not all completely high speed either: 'Duke Selecta' is almost afro-house, with slow, sexy bass and woozy vocal melodies, and 'KKKKKKKKKKKKKKK' absorbs the propulsive spirit of South African gqom."Early Instrumentals" is the most varied picture we've been presented yet of Duke's rousing dance cocktail. IT's a physical call to action that assures listeners the genre is for movement, not headphone listening.

Source of Denial is the second LP from Nihiloxica, the Bugandan techno outfit hailing from Kampala, Uganda. It comes after more than three long years since Kaloli, their acclaimed debut on Crammed Discs.

The album points a (middle) finger at the hostile immigration and freedom of movement policies implemented in the UK, as well as across the world. Fueled by their frustrations with this intentionally convoluted system, the group have produced their most cataclysmic effort to date.

Returning to the Nyege Nyege studio in Kampala where the band recorded their early EPs, the band tracked Source of Denial over an intense month of sessions in early 2022. The cover art is emblazoned with an ultra-metallic new logo, echoing the growing presence of metal influences across the tracklisting, while the hi-vis, official-document styling wryly evokes the bureaucratic nightmare at the heart of the project. Tracks like Asidi and Baganga flirt with the dystopian, mechanical patterns and tonalities of djent godfathers Meshuggah, while the gargantuan synth line of the title track summons the spirit of an 8-string guitar, synthesised palm-mutes and all. This is all effortlessly compounded with the molotov cocktail of Bugandan ngoma (drums) and club sounds the group have become revered for. On tracks like Olutobazzi, Postloya and Trip Chug, the drums themselves are reanimated and manipulated more than ever before, further blurring the line between tradition and techno.

The only spoken words we hear throughout the album, outside of studio outtake Preloya, are computer generated. They speak of application processes, character backgrounds, and accountability, blasted through crackled phone speakers. The effect is a Kafkaesque feedback loop: an avalanche of constant call tones, uncanny British accents and rigorous interrogative questioning. The frustrations are a problem the band, a defiantly global outfit, has faced continuously. A whole UK tour was cancelled in 2022, and recently, a UK show had to be performed with only three members due to problems with a certain conglomerate visa agency who “provide services” for the UK, as well as a growing number of countries.

“We wanted to create the sense of being in the endless, bureaucratic hell-hole of attempting to travel to a foreign country that deems itself superior to where you’re from. We’re focussing on the UK as that’s where we’ve had the most trouble, but the problem goes much, much further. In this system if you have a certain passport or have even visited a certain country then you’re an appropriate subject to be interrogated and insulted time and time again just to prove that you’re worthy to enter, and normally this involves proving you have a good enough reason to want to leave again! The arrogance of it is unbearable. This album was a way to express our disdain towards it... What exactly is the source of your denial? Your passport? Your bank balance? Your skin colour? You’ve paid huge sums of money to be thrown from one profit-driven “service centre” to another, each denying responsibility, each limiting your right to freedom of movement as a human being. Despite some other serious humanitarian shortcomings, Uganda accepts some of the highest numbers of refugees in the world. Meanwhile the UK is trying to send them away to Rwanda. That says it all.” - Nihiloxica

Since the appearance of his cult breakthrough debut Tuli Banyo released on Hakuna Kulala in 2018, Ugandan conscious rapper and MC, Ecko Bazz has challenged perceptions of East Africa's burgeoning rap scene. His style is hard to categorize blending elements of grime, dancehall and US hip-hop and twisting politicized lyrics in Luganda that explore violence, religion, drug abuse or the poverty in the Ugandan slums. This personality anchors his debut album Mmaso, an explosive call to action that balances his manic presence with production from MC Yallah collaborator Debmaster, Kenyan club futurist Slikback, Berlin-based Japanese beatmaker DJ Die Soon and the inimitable DJ Scotch Rolex. Mmaso is driven by Ecko Bazz's kinetic performance on the mic. Anyone that's had the privilege of seeing him live will know what to expect, and his unadulterated flow is immediately focused on the grinding title track. The rapper alternates freely between sober truths and hyperactive screams, flipping between intensity from verse to verse. On Lwaky?, an anxious Debmaster beat underpins Bazz's visceral hedonism bending his rhymes in double and half-time and wrenching his voice gymnastically over 808 booms and claps. There's a pause for breath on the more intimate Mugulu e'yo or the relatively restrained Empungo Mubanga where Slikback provides a breathy and minimal midnight trap rumble to couch the rapper's surreal exuberance. With DJ Die Soon's Bikuba, Bazz mimics the bouncy lead synth to command a presence that refuses to let you forget that, even at his most claustrophobic, he makes music that lives at the club. That's never more evident than on Nkoowola, a standout that made it to Nyege Nyege - Soundcloud Music for the Eagles compilation. Bright, powerful and charged with rebellious energy that resonates through East Africa and beyond.

While Chrisman's "Ku Mwezi" ep mostly explored gqom and trap influenced Afrohouse mutations, his debut album heads in a different direction. On "Makila", Chrisman provides an experimental vision of the taraxina sound: a molasses-slow fusion of the Angolan kuduro and kizobma dance templates that dips in-and-out of fuzzy drones and syrupy gqom. On 'Angels of Kivu', he pushes the clicking skeletal rhythm into the background, allowing electrified likembé melodies to take pride of place. It sounds like Congolese legends Konono No.1 shocked into a psychedelic electronic future by way of Durban. 'Fatiliya' pushes more solidly into taraxina territory, with familiar saw synths accenting low 'n slow kicks and air blast leads. The backbone is Angolan, but Chrisman approaches his music with a full awareness of Atlanta trap and gqom, never ignoring the gut-rattling pressure of sub bass. That's never more evident than on the title track, where he constructs a haunted atmosphere of bells and drones to sit beneath staccato percussive hits and and winding drill slaps. "Makila" is challenging music that takes divergent African forms and melts them together with next level skill and sleight of hand. It's another bold step for East African electronic music that underscores the wild creativity and talent emerging from the Democratic Republic of Congo.

If you like DJ Lag, Nazar and Slikback, you'll love this one! Hailing from Umlazi Township in Durban, South Africa, 27-year-old trackmaker Menzi was one of the early pioneers of the GQOM scene, which has now become a worldwide movement. This is the debut album from the man who has been producing for some of South Africa's biggest artists such as Babes Wodumo, Mahotella Queens and Zolani Mahola for the past few years, as well as organizing Festive Road Block Umlazi, the biggest GQOM block party held annually in Durban for the past few years. The album is made up of tracks recorded at Umlazi Durban and Boutiq Studios Kampala (Uganda) in '19 and '20, and includes "GQOM Tera," a collaboration with Ugandan MC Ecko Bazz.

RAW SPACE" is rooted in chaos and chance, sensuality and intensity - it's an album that's able to sound alarmingly freeform and tightly controlled simultaneously. Already established as a genre-disrupting DJ, and even dubbed "demon of the Nile" by Ugandan politicians after an exuberant performance at Nyege Nyege festival in September 2019, Kampala-based sonic hypnotist Authentically Plastic brings a digger's literacy, an activist's intent, and an artist's playfulness to their jagged debut album. As both a DJ and a producer, Authentically Plastic is drawn to the idea of chance as a creative tool - to push against the idea of the all-knowing genius, and approach artistry instead as a facilitator, unraveling parallel mismatched rhythmic events. Their musical process is to start with chaos, then attempt to mold those fleshy structures into polyrhythmic mutations, pulling influence from East Africa's innovative musical landscape and augmenting it with an exploratory sense of surrealism. On opening track 'Aesthetic Terrorism', rough-hewn industrial rhythms chug mechanically against course, dissonant synth blasts and acidic arpeggios. There's a faint sparkle of Detroit's chrome-plated Afro-futurism, but bathed in neon light, reflecting Africa's contemporary electronic revolution. Authentically Plastic's productions have a sense of thematic coherence, but their myriad influences are torched into cinders, leaving inverse impressions and ghost rhythms: the tuned overdriven clatter of 'Anti-Fun' echoes Ugandan kadodi modes, yet simultaneously mirrors the rugged out-zone grit of Container or Speaker Music; standout centerpiece 'Buul Okyelo' meanwhile is as rhythmically cross-eyed as Slikback or Nazar, but juxtaposes kinetic dancefloor thumps with chaotic microtonal ritual cycles. Writing "RAW SPACE", Authentically Plastic found themselves fascinated by sonic flatness. They realized that in Western art, there's an obsession with depth of field that carries into music, robbing it of intensity. The album is an example of the power that can be reclaimed when you let go of depth, letting sounds rub together carnally and spawn something fresh and unexpected