EthioSonic is the sister series to Ethiopiques, documenting modern Ethiopian influenced sounds from around the globe, no matter whether it’s ‘Ethiopia, the diaspora or ferenj (foreign)’, as the cover of the latest two offerings states. Both tread similar paths, but with differing results. The unpromisingly named uKanDanZ start well enough, while the angular ‘Addis Abeba Bete’ deconstruct the bare bones of Ethiopian music’s DNA, before building it back up to a fierce conclusion. The distorted guitar easily sits in the sonic space usually occupied by the krar (lyre). As the album unfolds, however, the subtleties are shed, replaced by a heavy-handed approach that soon feels formulaic. ‘Aykedashem Lebe’ seems forced and stodgy, edging uncomfortably towards rock fusion in some places. Elsewhere, an over-reliance on guitar solos suffocates other aspects of the instrumentation. Toning down some of these rawer elements would actually heighten their impact when the songs reach their peak.

There are similar dynamics at play within Trio Kazanchis’ shorter debut. It is no less fiery or tough, but the band draw from a more varied palate, leaving space for their ideas and fusions to breathe and percolate. The stridency of ‘Hay Loga’ juxtaposes nicely with the acoustic ‘Bertukane’, as the krar and saxophone merge and play off each other. ‘Ende Eyerusalem’ succeeds as an avant¬garde workout, as frenetic notes and motifs bounce off each other. Elements of both Sun Ra and Albert Ayler spring to mind, as the band push the Ethiopian canon into extremely promising territory. Staying just the right side of coherent, it stretches the central melody to near breaking point. The psychedelic closer, ‘Etetu Beredegn’, with the krar played through a wah-wah pedal, generates an unusual and ominous suspense. It points to exciting possibilities as musicians from all over the globe continue to get to grips with the music of Ethiopia, recasting it in new and exciting contexts.