Reviews
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
80 Anos
It’s not every day you get semi-legendary Beastie Boys producer/collaborator Mario Caldato Jr digging up a long-lost Afro-Brazilian ensemble from...
Reviewed by Brendon Griffin in issue: January/February/2022
Tropical Anatolia
At the bottom of my street is a restaurant called Tropical Sushi serving Japanese dishes with a South American theme....
Reviewed by Daniel Spicer in issue: January/February/2022
Lua Adversa
It is telling that Cristina Clara was a regular at Tejo Bar, a tiny spot in Lisbon’s historical quarter of...
Reviewed by GonÇalo Frota in issue: January/February/2022
