Reviews
Bird Like Men
The debut album from this new Aotearoa (New Zealand) quartet brings together four distinctive Kiwi artists: female Māori singer-musicians and...
Reviewed by Seth Jordan in issue: January/February/2022
Giant + Guitar
Wewantsounds continues its remarkable work in excavating long deleted Arabic albums of the 1970s and reissuing them on LP (and...
Reviewed by Garth Cartwright in issue: January/February/2022
Assouf
It has been two decades since desert blues music first stepped onto the international stage, and although the world still...
Reviewed by Lucy Hallam in issue: January/February/2022
Essiebons Special 1973-1984: Ghana Music Power House
The recently departed Ghanaian producer and label-owner Dick Essilfie-Bondzie was digitising his recording vaults right up until his death, discovering...
Reviewed by Martin Longley in issue: January/February/2022
Sleeping Spirals
“I didn’t think I did need a cellist,” Hannah James says in a video describing the genesis of her new...
Reviewed by Sophie Parkes in issue: January/February/2022
Freedom to Roam The Rhythms of Migration
What are ‘the rhythms of migration’ – are they natural, forced, seasonal? And how do you evoke or embody them...
Reviewed by Tim Cumming in issue: January/February/2022
Parampara Festival 13.3.1992
Held in Berlin in 1992, Parampara Festival brought together Indian teachers and their international students to showcase the global spread...
Reviewed by Daniel Spicer in issue: January/February/2022
Masterpieces for Sarod and Violin
Amjad Ali Khan, Elmira Darvarova, Amaan Ali Bangash, Ayaan Ali Bangash
There’s a long tradition of Indian-meets Western-music albums, but this is one of the best. India’s premiere sarod player, Amjad...
Reviewed by Simon Broughton in issue: January/February/2022
