CD Review: M.A.K.U. Soundsystem's 'Mezcla'

M.A.K.U. Soundsystem
Mezcla
Glitterbeat

The New York-based, Colombian-infused musical adventures of M.A.K.U. Soundsystem are eloquently showcased on their latest album, Mezcla. The steady, Latin-beat is full of funky percussive sounds, Spanish vocals, and an Afro-beat-meets-Klezmer influence likely absorbed from their New York home and Colombian heritage. The result is a frenzied, funkified, and psychedelic romp through the Central American jungles and the subways of New York City. The music brings in a certain amount of jazzy elements, electronic undertones, and a vibrant rhythm section to electrify the music for an unforgettable forty-three-minutes. The tracks and vocals represent a high-energy product that is danceable, thought-provoking, and lyrically-strong. All in all, nine tracks round out the album. The positives are marked with indelible beats, catchy rhythms and melodies, and a hint of nostalgic elements encompassing Afro-beat, psychedelic rock, funk, jazz, dance, and electronica. Fans of Latin-beat, Afro-beat, cumbia, and related genres will not want to miss Mezcla. ~ Matthew Forss

CD Review: Aziza Brahim's 'Abbar el Hamada'

Aziza Brahim
Abbar el Hamada
Glitterbeat

Based in Spain, Aziza Brahim is a popular singer originally from Western Sahara. Her music is borne out of the Saharawi culture of Algeria/Morocco/Western Sahara. The rousing, upbeat, "Calles de Dajla," is a catchy tune that melds the vocals of Malouma (from Mauritania) and the guitar/percussion of Mali's Tinariwen. "El canto de la arena" encapsulates a softer side of Spanish music with jaunty guitars, breezy percussion, and an effortless, yet breathy, flute. "El wad" continues the Saharawi rock idioms with great vocals and arrangements. The title track represents the plight of the refugees camps along the border of Algeria and Western Sahara. Abbar el Hamada is a rather upbeat album with great vocals and a spacious, rock beat bringing together Spanish, North African, and North American arrangements. Fans of Tinariwen, Toumast, Tartit, Malouma, Mariem Hassan, Dimi Mint Abba, and other musicians from the region will find this album to be a welcome addition to the collection. In general, music from Western Sahara is rarely heard outside the region. Do yourself a favor and discover the music of Aziza Brahim today! ~ Matthew Forss

CD Review: Bixiga 70's 'III'

Bixiga 70
III
Glitterbeat

III is the third album in Bixiga 70's repertoire and it serves as a perfect reference point for exploring cumbia, ethno-jazz, electronica, funk, carimbo, samba, and psychedelic creations. The instrumental effort from the Brazilian-based group, incorporates lively and punchy sax, trumpet, flute, trombone, as well as drums, keyboards, guitars, and percussion. The heady beats and swirling rhythms are trance-inducing, but always rewarding. The punchy beat culminates in a very catchy tune with an unusual title: "100% 13." At any rate, it is one of the stand-out tracks on this release. Yet, all of the tracks are noteworthy. Buy it today! ~ Matthew Forss

CD Review: Bassekou Kouyate & Ngoni Ba's 'Ba Power'

Bassekou Kouyate & Ngoni Ba
Ba Power
Glitterbeat

The power of the Malian ngoni lute is highlighted by Bassekou Kouyate & Ngoni Ba's powerful rhythms, rock-tinged arrangements, and bluesy vocals ripe with African panache and deep, historic roots amidst a contemporary setting. The ngoni's stirring and entrancing sounds are intensified by the fact there are five ngonis that make up the band's sound. Traditional drums, calabash, keyboards, guitars, and horns provide a modern tone, but the music is still rooted in Malian blues and soul. There are vocal pieces, but the real charm comes from the instrumental grooves and punchy rhythms found throughout the album. Ba Power is a musical gem with occasional rock guitar displays and earthy, traditional instrumentation with a trance-filled soul. There are nine tracks in all. The vocals are in Bambara. Not to be missed! ~ Matthew Forss

CD Review: Sonido Gallo Negro's 'Sendero Mistico'

Sonido Gallo Negro
Sendero Mistico
Glitterbeat

Mexico's engaging and psych-inducing ensemble, Sonido Gallo Negro, brings the sounds of the 1970's alive with cumbia-infused beats, boogaloo, chicha, huayno, and other styles in an action-packed, Farfisa organ-soaked delight of musical exploration in a contemporary context. The mostly instrumental tunes are littered with psych references that contain electric guitars, flowing rhythms, indigenous percussion, and electronic samples. The head-bobbing music is ripe with cumiba sounds and instrumental riffs that strike the soul with such a powerful chord that nothing is impossible for these guys. This is psych-funk music at its best. Fans of Turkey's Hayvanlar Alemi will find similarities with Sonido's music. Overall, Sendero Mistico is a wild journey with danceable rhythms and great melodies that transcend a defined description. However, everyone will find happiness in the tunes of Sonido Gallo Negro. Get your psych-on today! ~ Matthew Forss

CD Review: Tamikrest's 'Chatma'

Tamikrest
Chatma
Glitterbeat

Upon first examination of the cover art, one may be reminded of the iconic 1985 National Geographic photo of Sharbat Gula - a young Afghan girl, named Sharbat Gula, known for her mesmerizing facial shot. In this case, the plight of North African refugees are highlighted with an emphasis on familial affiliations. North African blues guitar rock may have been popularized by Tinariwen, but Tamikrest also fills the big guitar shoes with Chatma. The ten-track release contains bluesy, guitar riffs, licks, and slides with booming bass, Tamasheq vocals, and some percussion. The affect is a contemporary release without a complete dismissal of North African music traditions. All of the tunes are rather upbeat; except for "Achaka Achail Aynaian daghchilan," "Adounia tabarat," and "Timtar." Some of the songs have characteristic, female ululations in the background, which are quite intoxicating. The guitar sounds are fluid, organic, and slightly rustic, which are very fitting overall. The beats are catchy and memorable. This is not a polished dance album or a pop production, but fans of Tidawt, Tinariwen, Terakaft, Toumast, and others, will find some great stuff here. Essentially, anyone with a passion for North African guitar music will love Tamikrest. Buy it today! ~ Matthew Forss

CD Review: Samba Toure's 'Albala'

Samba Toure
Albala
Glitterbeat

Born in Mali, Africa, Samba Toure creates moving blues music with lilting guitar work and North African rhythms. Samba tackles the guitar, calabash, and percussion instruments. As a vocalist, Samba resembles Ali Farka Toure. There are backing vocals on a few tracks and traditional violins and contemporary keyboards on others. Overall, Samba's music is full of Malian brilliance with engaging vocals and enthralling instrumentation with lyrics that tackle societal ills. Samba is joined by Djime Sissoko on ngoni, Madou Sanogo on congas/djembe, Zoumana Tereta on sokou, Aminata Wassidje Traore on backing vocals, and Hugo Race on guitar and keyboards. The bluesy tunes and ambulating beats are raw and passionate. Anyone familiar with North African guitar blues will notice Albala--a fast-emerging release that combines the best of both worlds: African roots and blues music. ~ Matthew Forss