Bassekou Kouyaté & Ngoni Ba: Ba Power

Bassekou’s fourth album Ba Power (and his first for Glitterbeat Records) is a striking, career defining record marked by mesmerizing songs, razor-sharp riffs and full-throttle emotions. The album contains all the swagger, precision and wide-eyed excitement that the title implies. It is the album where Bassekou’s music engages with the world in ways he could have only imagined 10 years before. It is the album where he confirms his status amongst the 21st centuries most relevant musical artists.

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Tamikrest: Taksera

“Taksera” (which in Tamashek means ‘a celebration with music’) is a rough and ready live album that is sure to give jolt to Tuareg-rock group Tamikrest’s already heady reputation. Recorded on a summer festival stage during their 2014 “Chatma” tour, the album vividly showcases the visceral and improvisational power of the band. The hypnotic grooves of the songs are blissfully extended, and the band’s signature drive and electric guitar telepathy are pushed up front and center.

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Hanoi Masters: War is a Wound, Peace is a Scar

“Hanoi Masters: War is a Wound, Peace is a Scar” is a haunting audio document recorded in the summer of 2014 by Grammy-award winning producer Ian Brennan. The sepia-tinged songs are sung and played live and direct by elderly Vietnamese musicians using half-forgotten traditional instruments. These musicians all have deep personal connections to the upheavals of the Vietnam War and the album’s mesmerizing mood navigates the blurred line between raw beauty and sadness.

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Samba Touré: Gandadiko

Gandadiko, the title of Samba’s potent, diverse and ambitious new album, translates from his native language Songhai as: “Land of Drought” or “Burning Land.” Samba’s guitar playing has never been so anxious, exploratory and rock and roll and his voice has never been as smooth and relaxed. Samba wants to be many places at once and the accomplishment of Gandadiko is that by successfully navigating these sorts of “contradictions,” Samba’s artistry has reached an even higher level.

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Jon Hassell/Brian Eno: Fourth World Vol.1 – Possible Musics

Originally released in 1980, Jon Hassell and Brian Eno’s collaborative album “Fourth World Music Vol.I: Possible Musics” is a sound document whose ongoing influence seems beyond dispute. Not only is the album a defining moment in the development of what Eno coined as “Ambient Music” but it also facilitated the introduction of Hassell’s “Future Primitive” trumpet stylings and visionary “Fourth World” musical theories to the broader public.

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Glitterbeat: Dubs & Versions I

Glitterbeat Afro-rock artists remixed by Dennis Bovell (LKJ, Slits), Mark Ernestus (Rhythm & Sound), Nozinja (Shangaan Electro), Mark Stewart (Pop Group) and more. It can’t be much of a surprise that Glitterbeat would eventually assemble a collection of dubs and versions of songs by our artists. Our very first release in the spring of 2013 was a 500-piece limited edition 12” where two tracks from the Malian Afro-rock newcomer Ben Zabo were given an inspired dub treatment by legendary Berlin producer Mark Ernestus.

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Fofoulah: Fofoulah

With the rhythms of the Sabar drums – a traditional form of Wolof drumming from Gambia and Senegal – at its heart, Fofoulah’s music has evolved into an inspired cosmopolitan mélange that also incorporates elements of electronic music, dub, improvisation and afro-rock. Like the complex city they live in, their music is shaped and lifted by diverse sound-worlds and cultures. Featuring members of Robert Plant’s Sensational Space Shifters, JuJu and Red Snapper. Guests include Ghostpoet, Juldeh Camara, Iness Mezel and Batch Gueye.

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Noura Mint Seymali: Tzenni

Noura Mint Seymali’s album Tzenni is a contemporary articulation of Moorish griot music from Mauritania—an artform that has been evolving and gaining momentum for centuries.  Noura Mint Seymali is an artist profoundly steeped in history and tradition but also rigorously devoted to its global resonance. Songlines magazine wrote about Noura and her band that: “this Mauritanian music is an excellent example of roots rocketed into the 21st century.”

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