Recently in World Music Category

20111122-HOLIDAY-SG-global-holiday-albums-560x225.jpg We all love our holiday traditions, including our favorite seasonal songs, whether you're a classicist or a "Grandma Got Run Over by a Reindeer"-ist. This year, why not add a global dimension to your holiday listening traditions by embracing some international music customs? We've assembled an extensive guide to the best international and Latin holiday albums, including Christmas-, Hanukkah- and solstice-friendly music from Ireland, Cuba, Jamaica, Eastern Europe and more. So start listening and find some new ways to (musically) say Merry Christmas! Feliz Navidad! Nollaig Shona Dhaoibh! Ah Freilichen Chanukah! Happy holidays!

Listen now: International and Latin Holiday Albums Roundup


1. The Chieftains
The Bells of Dublin
This 1991 album still stands as an unlikely holiday classic — unlikely because only a handful of the usual suspects make it on here. Yes, you'll hear "God Rest Ye Merry Gentlemen," "O Holy Night" and a healthy heap of other traditional tunes, but the bulk of The Bells of Dublin plumbs deep into the season, featuring Breton and French carols alongside the odd, Elvis Costello-sung "St. Stephen's Day Murders." The sprawling album commences with the chiming bells of Dublin's Christchurch Cathedral, and they appear throughout. Jackson Browne, Rickie Lee Jones, Marianne Faithfull and many others guest. [Sarah Bardeen]


World Roundup

20111101-world-RU-560x225.jpg Not to toot our own horn or anything, but we think Rhapsody's World Roundups are pretty exciting. It's just so rewarding and exhilarating to take this kind of whirlwind trip around the world of global music, digging into all the fantastic and often under-the-radar new albums that have come out in the last couple months. Our Top Ten this time out, for instance, spans critically acclaimed African desert blues, almost-lost Afro-funk nuggets from Benin, shiver-inducing flamenco, neo-folkloric Mexican alt-rock and Brazilian-zydeco/Western swing/New Orleans jazz mashups. And that's just the first half! Get soundtrekking!

Click here to listen to an accompanying playlist: World Roundup Fall 2011


1. Tinariwen
Tassili
In a Nutshell: Tinariwen's fifth album is both their boldest and their most pared-down. The Touareg band is joined by unlikely guests, a move that could feel forced. Instead, Nels Cline's guitar adds the subtlest layer, TV on the Radio's doo-wop-through-the-looking-glass crooning folds into the mournful vocal texture, and The Dirty Dozen Brass Band's weary funereal horns feel almost organic on the meditative groove of "Ya Messingah." Alone, Tinariwen get more intimate than ever, abandoning amplification and ululation for the solo vocals and hushed acoustic instrumentation of Tamashek folk music.


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Graceland


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20111018-dia-de-los-muertos-560x225.jpg Although Halloween as we know it in the United States isn't celebrated to the same degree in the rest of the world, the holiday is starting to gain ground in Latin America, with kids dressing up and trick-or-treating everywhere from Colombia to Mexico. And why not? A strong foundation for the holiday already exists. First and foremost, there's Dia de los Muertos, in which families and friends gather to commemorate departed loved ones with eating, drinking, music and general fiesta-making. It's a joyous occasion, of course, but still one in which the ghosts or souls of the departed are said to walk the earth again.

If you want real creepy stuff, however, look no further than the creepy creatures of Latin myth and legend: vampiros, fantasmas, diablitos and, creepiest of all, chupacabras, a/k/a vampire goats. Lucky for you, we've got a playlist full of them! Turn out the lights and get your horror-movie scream ready as we unveil the scariest playlist in Español you're likely to find!

Click here to listen to the entire playlist: Vampiros, Chupacabras and Fantasmas: A Latin American Halloween

20111011-beirut-SM-560x225.jpg When Beirut burst (OK, shuffled quietly) onto the scene in 2006, Zachary Condon's rotating crew wowed fans and critics alike with both his precocious songwriting and the globe-trotting, youth-belying range of stylistic sources he employed. As the legend goes, the New Mexico native dropped out of school as a teenager and went bumming around Europe, where he discovered and thoroughly absorbed folk and pop music traditions from French musette to Balkan brass to (especially) Roma/Gypsy folk. Back home, he wove his sonic discoveries into the tapestry of his debut album, along with bits and pieces of other influences, like the mariachi music he often heard while growing up in Santa Fe, the inclinations of his fellow globally inclined American singer-songwriters, and, of course, a lot of indie rock and pop. Then he filtered it all through a sweet, pensive haze that constituted both a gesture toward Roma music's palpable sense of yearning and his own take on the tradition.

In short, Gulag Orkestar was a remarkable (and remarkably mature) debut for a young singer-songwriter who has gone on to live up to the hype (and continue his sonic globe-trotting) on subsequent albums, including this year's The Rip Tide. Join us as we retrace Beirut's steps and take a deep dive into that debut album's roots and routes; your ears can follow along with this playlist: Source Material: Beirut, Gulag Orkestar.


Toby Love, La Voz de la Juventud

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Album of the Day Crunk may be nearly dead, but Toby Love's much-(self-)vaunted hybrid "crunkchata" finally seems to have solidified into a genre of its own. Well, maybe not crunkchata so much as R&Bachata. Sure, in spots, the "blend" is little more than an English-language, hip-hop-infused bridge. But on cuts like "Eres Tu" and "Corazon," Love's weave is so seamless you'd swear R&B was born with that sexy stutter. It's Love's vocals that seal the deal, balancing a Michael Jackson-esque fragility with a bold, seductive confidence (that doesn't need quite so many self-aggrandizing shout-outs). [Rachel Devitt]

Hear It Now!


Amadou et Mariam, Welcome to Mali

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Album of the Day Freed from the friendly (if spastic) tyranny of Manu Chao, Amadou and Mariam spread their wings on this follow-up to 2005's hugely successful Dimanche a Bamako. With unlimited resources (and collaborators, apparently), the duo adds subtle niceties of Western pop to their African blues, smoothing down the rough edges of their rolling, hypnotic, call-and-response music. Of the two, Amadou remains the superior singer, his voice and guitar both warm and enveloping instruments. Check out the Damon Albarn-produced "Sabali." [Sarah Bardeen]

Hear It Now!


SoundTreks: Bollywood

20110913-bollywood-560x225.jpg With its roots in Indian films of the 1950s and '60s, Indian film music is the sound of playback singers (something akin to voiceover artists) reinforcing pivotal scenes — and revealing hidden emotions and future plot developments. The tradition is based in classical and folk performance wherein theater, dance and song coexist seamlessly, but for the last several decades, Bollywood soundtracks have also contributed heavily to India's pop music culture, spawning big stars and hit songs. Film music, in other words, is a vital part of daily life in India and a powerful vehicle for cultural expression. But especially in today's Bollywood, where composers and singers create music under intense time pressure, creating a flurry of pop tunes that come and go within a matter of weeks, Indian film music can be overwhelming. So we assembled this brief introduction to the vast, varied and exciting world of Bollywood, breaking down the industry's biggest stars and hottest composers in both the classic (1930s-1960s) and contemporary era in this handy-dandy extensive (yet still drop-in-the-bucket) annotated SoundTreks: Bollywood, A Playlist Guide.


20110830-trans-continental-psych-560x225.jpg Psychedelic rock has always been pretty global by definition, in a misty, crystalline, incense-and-peppermints kind of way. In its '60s and '70s heyday, the influences of psychedelia — drugs, sitars, mysterious religions, political ideologies — traveled along a crisscrossing bohemian circuit of exotic locales from India to Morocco to Guatemala. At the same time, local musicians in each of those places and many more joined the trip themselves. Psychedelic artists like Ethiopia's Mahmoud Ahmed, Turkey's BariÅŸ Manço, the Philippines' Asin and many of the key figures in Brazil's Tropicália movement incorporated indigenous music styles and recorded rare albums that intrepid crate diggers still scour the earth for today.

This transnational, countercultural psychedelic rock movement also influenced today's tripped-out, worldly, transcendental rock bands: the retro-washed trans-Cambodian cocktail of Dengue Fever, the Afrobeat diehards keeping Fela's memory alive (including a few of his own sons), and Andean psychedelic cumbia revivalists like New York's Chicha Libre. But the Saharan desert has proven to be the major epicenter of the psych rock revival, with musicians from persecuted nomadic groups like the Temashek (Touareg) people weaving together blues licks, traditional rhythms and vocals, and reverberating electric guitars into vision-blurring desert rock soundscapes that fuzz the line between a ritual trance and a psychedelic trip.

Malian desert-blues stars Tinariwen have just released a fifth album, Tassili, that takes psychedelic rock on an even more global journey, inviting American indie rockers like TV on the Radio and jazz musicians like The Dirty Dozen Brass Band to join them on their transcontinental adventures. That record inspired this playlist, but as you'll hear, there's plenty more where that came from. So tune in, turn on, drop out and take off on a head-spinning trip around the globe.

Click here to listen to the entire playlist: Transcontinental Trip: Psychedelic Rock From Around the Globe.

20110816-world-RU2-560x225.jpg This edition of the World Roundup underscores just how vast and wide-ranging the music under the ambiguous umbrella term "world" can be, and at the same time, what beautiful common ground exists there. Afropop, Balkan brass, Brazilian tropicália, Haitian-Cuban choral folk music, East African dub, globe-trotting electro-funk ... you'll find all that and more below. But even this disparate range shares an investment in and undying dedication to the groove, whether it inspires a meditative trance or rocking-out jam-band exuberance. So sit back and let it all sink in.

Click here to listen to our accompanying playlist: World Roundup Summer 2011


1. SMOD
SMOD
Fans of Manu Chao (or Amadou & Mariam, whose son is in SMOD) will find plenty to love on SMOD's first international release, which has both the literal and aesthetic stamp of those global pop greats written all over it. Produced by Chao and written on A&M's terrace, SMOD trades in glistening, folk-infused Afropop. At times it's difficult to distinguish their gorgeous, rippling guitars, kora-inspired rhythms and strong, soft lyricism from the work of their predecessors. But the group sets itself apart by incorporating a gentle hip-hop aesthetic.
Don't Miss: The hazy, über-hip "Les Dirigeants Africains." The playful yet pensive flow of "Ca Chante."

Fado: Portuguese Soul Music

20110809-fado-560x225.jpg Fado is often referred to as the Portuguese blues -- and with good reason. A folk tradition of somewhat murky and legendary origins (think sailors lost at sea rather than deals with the devil), this music was the voice of Portugal's poor for centuries. With nothing more than an acoustic guitar and (especially) a rich, throaty voice capable of expressing heart-wrenching pathos and sorrow, a fadista (fado singer) could speak to the struggles and strife of life in the country's urban ghettos, particularly as Portugal declined as a world power in the 19th and 20th centuries. With the advent of recording technology, fado rose in popularity, producing stars like Amalia Rodrigues and Maria da Fe before the genre started to fall out of fashion in the later 20th century. In the 1990s, however, a true revival began, with young artists like Ana Moura, Mariza, Madredeus, and Dulce Pontes reshaping and redefining the centuries-old tradition for a new generation, at once paying tribute to the style’s roots and modernizing it, not to mention attracting a fan base that stretched beyond Portugal to encompass global-music fans in Europe and beyond.

It's this modern era (as well as a few earlier inspirations) that gives this playlist its focus, and the inspiration for its name. Like American blues and its successor, soul, the style has evolved into an institution beloved for its ability to encompass a range of raw emotion, gritty political commentary and pure pleasurable musical skill. Musically speaking, the rolling acoustic guitars and dancing, trilled melodies may sound a lot like Italian café pop or Spanish flamenco to American ears. But it's those aching, mournful, gut-punching vocals that will speak to your soul, whether or not you understand a lick of Portuguese. Dig in to our Fado Playlist, featuring tracks from award-winning fadista Mariza's brand-new album, Fado Tradicional.

Click here to listen to the entire playlist: Fado: Portuguese Soul Music


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Album of the Day Filmed on the fly and gorgeously shot, Sleepwalking the film captures an extraordinary moment, as Dengue Fever returns to Cambodia to pay homage to '60s music that had been cut off, mid-blossom, by the horrors of the Khmer Rouge. In the process they delve into the country's history, find themselves wowed by Cambodia's traditional musicians (a dying breed), and amuse -- and bemuse -- their hosts to no end. It's a moving film, and the soundtrack is no less moving, compiling live performances with some of the band's best songs and their vintage inspirations on one disc. Essential. —Sarah Bardeen

Hear It Now!


SoundTreks: Saharan Blues

20110726-soundtreks-sahara-560x225.jpg Welcome to SoundTreks, our new (well, revamped) column that takes you on a sonic tour through musical scenes and styles from around the globe. Whether you're an international rookie aching to hear something new, a diehard world nerd or just an equal-opportunity crate-digger, this is the column for you. Start trekking!

In this edition of SoundTreks, we explore a movement known by several names: desert blues, desert rock or Saharan blues. Though that's somewhat amorphous and ambiguous, what we're basically talking about are the entrancing, sometimes melancholy, and often downright trippy grooves hewn when musicians from the Saharan desert region began filtering traditional folk music through blues and psychedelic rock. Those amorphous and ambiguous boundaries are appropriate, actually, as desert blues was created by members of traditionally nomadic cultures like the Woodabe and, especially, the Touareg (or as they call themselves, Kel Tamasheq) people, who have been historically persecuted by the nations surrounding the Sahara and often forced to live in exile from their homelands.

Desert blues is an integral part of that historic struggle: many of the scene's most brilliant stars honed their craft in revolutionary training camps or learned electric guitar in refugee tent cities. The music they create often speaks to the realities of their lives: the lyrics are sometimes virulently (though more often mournfully) politicized. Chanting choruses evoke the communality found within the struggle, while women's voices keen and ululate above. Small armies of guitars echo and ring as if stretching toward an ever-elusive horizon. Often steeped in ceremonial traditions and governed by rolling drums, the songs move with a slow, sweltering grace. And all of it pulses with an ineffably rock 'n' roll heartbeat.

20110719-tuneyards-560x225.jpg The much-lauded second album by tUnE-yArDs (aka Oakland-based indie-rocker Merrill Garbus) has been, well, much-lauded for many reasons, not least of which is the finely tuned and widely varied sonic palette into which she dips. The creatively styled W H O K I L L has been heralded for digging into hip-hop, funk, R&B, free jazz, soul and much more — as our own Stephanie Benson put it, treating each style like "a treasure she eagerly excavated from a junkyard." But as the brilliant Sarah Bardeen, our former world music editor, pointed out, what often gets left out of the discussion of Garbus' crate-digging, style-raiding, experimentally hodgepodge approach is the global scope of that pastiche, which dabbles in European, Asian and a whole lot of African sounds. Garbus herself appears to be an avid world music fan, name-checking influences that range from Kenyan to Bulgarian. So we went ahead and took a stab at excavating the more global sources mined on W H O K I L L. Dig in! (and listen to the music discussed here on our Source Material playlist!)


Angelique Kidjo, Oremi

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Album of the Day Oremi is testament to Angelique Kidjo's wide-ranging musical tastes and her absolute fearlessness when it comes to sacred cows like Jimi Hendrix's "Voodoo Child." Benin is the home of voodoo, and Kidjo effortlessly makes the song her own. Her sunny pop sensibility is at its best in "Loloye" and "Yaki Yaki"—and of course in the title track. —Sarah Bardeen

Hear It Now!


20110621-SM-angelique-kidjo.jpg By 1998, Angelique Kidjo was already a much-heralded Afropop success story, with a sonic reputation for bridging cultures, continents and aesthetic categories, reflecting her own multicultural roots and routes. In other words, she made Afropop with both international and African appeal. But with her fifth album, Oremi, she took her gift for hybridization to the next level.

Armed with a plan to record a trilogy that explored the African roots of music in the Americas, Kidjo headed to New York, where she recorded with jazz artists (Cassandra Wilson, Branford Marsalis) as well as R&B/gospel singer Kelly Price, all while boldly re-imagining Jimi Hendrix's "Voodoo Child (Slight Return)." The resulting album is a graceful effort that subtly, smoothly laces together African and American music in innovative ways. An Afropop aesthetic dominates the sweet, sunny "Babalao" (a plea for the world's youth), with American soul providing nuance and adornment; for the church-choir-meets-girl-group slow-dance number "Loloye," she uses delicate African aesthetic gestures as a point of entry into American pop styles. The title track, meanwhile, offers a chicly cosmopolitan sound that more fluidly blends together hip-hop, soul, lounge music and African musical traditions.

20110503-upcoming-releases-560x225.jpg We must admit that Tuesday is our favorite day of the week here at Rhapsody: that's when new releases come out. Thankfully, the next three months of Tuesdays look absolutely glorious, full of fresh music from ukulele-brandishing rockers, electronic pioneers, strident country hit makers, unabashed pop divas, unrepentant metalheads, CCM luminaries, contenders for Best Rapper Alive honors, soul superstars and, of course, Lady Gaga. Here's the best of what's to come.


Lady Gaga, Born This Way (May 23) Quite possibly the most anticipated album of 2011, Gaga's second full-length bears a heavy load: there's the dreaded sophomore slump to avoid, and her massive celebrity to justify. Then there's the public's increasingly conflicted position on Gaga to contend with: do we find her hyper-theatricality annoying or endearing? Are the new singles ("Judas" and "Born This Way") brilliant meta-nuggets of pop culture or weak Madonna rip-offs? The whole world waits with bated breath to decide. — Rachel Devitt

Beyoncé, TBD (June) Then again, with just one girl-power-hungry, oh-Sasha-it's-fierce lead single packed with distinctive Diplo-and-Switch beats, Beyoncé made the world sit up and go, "Gaga who?" And when her fourth album drops sometime in early summer, you can bet your granny panties B's gonna knock all those lesser divas down like dominoes. — R.D.

Kanye West and Jay-Z, Watch the Throne (hopefully soon) Keep watching. This long-threatened mega-rapper summit will happen eventually, we swear: manic lead single "H.A.M." emerged way back in January, but it's been mostly radio silence since. Still, whenever these guys get around to it, Throne is sure to be a delightfully extravagant bacchanal of Best Rapper Alive narcissism. Hopefully Nicki Minaj drops by, too. — Rob Harvilla

World Roundup

20110419-world-RU-560x225.jpg So many great new releases have come through the various channels of world and Latin in the short time 2011's been alive. So many, in fact, that we've pared them down to a Top 10 of the Year — so far. (And we didn't even quite manage to keep it to 10.) Now, that should tell you something about how this year's shaping up in the world of world and Latin. Saving the Latin pop for another time (or see our recent Latin-only roundup from a few weeks back!), we're focusing this time around on diving deep and getting all pruny in waves of Afro-Latin grooves, South Asian dance pop, Afropop, Saharan desert blues and more. Enjoy!

1. Susana Baca, Afrodiaspora
In a Nutshell: Only a diva of Susana Baca's caliber could attempt to pay homage to the whole of the African diaspora's crisscrossing musical paths through Latin America and pull it off. The rhythms and percussion of her own Afro-Peruvian music provide structure and support as her velvety caress of a voice shimmies into Andean folk, flamenco, forro, even reggaeton! Only the jazz-blues-hip-hop hybrid "Hey Pocky Way" feels a little awkward.
Don't Miss: The Calle 13-featuring (!) "Plena y Bomba"
For Those Who Like: Latin dance music, Latin dancing, donkey jaws, David Byrne, Peru Negro, Novalima, Eva Ayllon, backpacking across continents.

Music of Japan

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As Japan weathers the devastating earthquakes and tsunamis that have beset it, our thoughts and our ears go out to that country and its citizens. In their honor, we present this very brief overview of the rich, diverse and, often, millennia-old musical cultures of Japan, from the ancient and stately gagaku court music tradition to the drama and passion of kabuki musical theater, from rock stars of the shamisen lute to the crooners of J-pop. Our hearts are with you, Japan.

Listen here: Music of Japan

While you're listening, check out some of these ways you can help:
MSNBC: Japan's Earthquake: How to Help

Time: Six Ways You Can Help Earthquake and Tsunami Victims in Japan

Facebook's Global Disaster Relief Page

Music of Egypt

20110201-egypt-560x225.jpg All eyes are on Egypt as the citizens of that country have risen up to demand a regime change and a government that will justly meet the needs of the people. As the world watches with bated breath to see what will become of the days of protests, we're also learning a great deal about the rich and complicated cultural history of that country. That history includes a diverse musical culture, the influence of which extends across the Middle East, Africa and Europe. Ranging from classical Arabic traditions to Bedouin and Sa'idi folk music, from Nubian oud master Hamza El Din to quintessential pop diva Oum Kalthoum, Egyptian music is as vibrant, fascinating and prolific as the Egyptian people and their courageous decision to take their country's future into their own hands.

Listen and learn to love this fascinating musical culture: The Music of Egypt.


Garifuna Rocks!

20110118-garifuna-560x225.jpg Descendants of Africans who escaped slave ships and built communities with the local Arawakan population along the Caribbean coast of Central America, Garifuna musicians are heirs to one of the world's most distinctive and resilient cultures. So it only makes sense that the musics they play represent some of the globe's most joyous yet politically critical, unique yet inherently diasporic, prolifically traditional yet hybrid, adaptive and inventive: the percussive religious music, the acoustic guitar-driven paranda, the various permutations of the punta rock genre created by the late great savior of Garifuna music, Andy Palacio.

Most recently is the exciting and game-changing new album from Honduras' Aurelio Martinez. Martinez already had quite a pedigree: A respected master of Garifuna traditions in his own right (not to mention a politician who was the first person of African descent to be elected to the Honduran National Congress), he was also the heir to Andy Palacio's throne and the chosen mentee of Youssou N'Dour. His debut album, Garifuna Soul, was released on Garifuna treasure chest Stonetree Records and widely acclaimed in global music circles. And then, for his next trick, he released his latest album, Laru Beya, as the second-ever album to be released on Next Ambiance, the world music imprint of respected indie label Sub Pop that the world of world music has been watching with keen interest. And what an eyeful -- or, rather, earful -- Martinez and Next Ambiance have given us. Densely layered, impeccably produced and swirling with globe-crossing currents of unexpected sound, Laru Beya is a sonic evolution (or perhaps revolution) that is steeped in the hybridized, resilient, powerfully distinctive Garifuna tradition.

Take a listen to our Garifuna Rocks! playlist, which situates Martinez's album within the rich and fascinating history of Garifuna music, from traditional, drum-driven chants to Garifuna rap -- and everything in between -- paying special tribute to the legacies of Martinez and Andy Palacio, who we lost in 2008.


AfroCubism, AfroCubism

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This project -- bringing Malian and Cuban musicians together to record -- was meant to happen back in 1996, but visa problems stalled it. Producer Nick Gold ended up filling the studio time with some old Cuban musicians who became the Buena Vista Social Club. Thank heavens this project, 14 years later, finally happened, because you can't fake chemistry like this. It helps when the musicians -- including Eliades Ochoa and Toumani Diabate -- are top-class. Four days of live recordings with just any group of musicians wouldn't have resulted in such rich, subtle, vibrant music. — Sarah Bardeen

Hear It Now!
20110111-anticipated-world-560x225.jpg The worlds of world and Latin music can be very disparate. But because there is some overlap (hence, the job title of yours truly), we've merged the two worlds (or perhaps more accurately, multiple worlds) temporarily to run through some of the year's most hotly anticipated albums. Just call it musical globalization! On this vast horizon, then, are Garifuna soul and Guadalajaran rock, Pitbull and Ladysmith Black Mambazo — and that's essentially just the first quarter of 2011. In short, the world(s) are looking pretty exciting this year.

Pitbull, Planet Pit (March)
Pitbull spent 2010 playing crossover guest star to pals like Enrique Iglesias ("I Like It") and Usher ("DJ Got Us Fallin' in Love") and dropping his first (entirely) Spanish-language album. Twenty-eleven is set to find him taking that crossover appeal, jumping back in the driver's seat and, apparently, driving all over the planet. If the lead single off Mr. 305's sixth album is any indication, his plan for conquering the world has diverged much from earlier efforts. "International Love" pulses with friendly, vaguely Latin but mostly generically clubby beats and plenty of innocuously sexy braggadocio. In other words, he's not taking any risks, but hey, if it ain't broke ...

Mana, Drama Y Luz (February)
After three decades playing together, seven well-received studio albums, three Grammys, five Latin Grammys and one stint touring with Mr. Carlos Santana, Mana are pretty much Latin rock stalwarts. You know them. You like them. And even if you don't know them, we pretty much guarantee you'll find their rootsy arena grooves likable. A new Mana album (their first since 2006's Amar es Combatir) is, therefore, as much a cause to celebrate as, say, your old college buddies coming to town for the weekend. You'll smile, you'll have a few drinks, you'll think of good times and you'll most likely dance.

Best Albums of 2010: World

20101214-WORLD-best-of-2010-560x225.jpg If anything marked world music this year, it was the lack of any big, defining story. In recent years, there's usually been a movement of some kind: gypsy music, desert blues. But 2010 was a year of fragments. The stalwarts continued to release big, commercial albums: Angelique Kidjo's Oyo and Youssou N'Dour's I Bring What I Love. (Neither album made our Top 20.) Musicians from Mali and Cuba joined forces for a long-overdue album that combines the good taste of Buena Vista Social Club with a much more vibrant, spontaneous feel. Meanwhile, the kids kept making club music that defied national boundaries and continued to earn the contempt of many world music critics/purists. And then there were Soundway Records' absolutely essential compilations, which unearthed hidden historical musical movements/moments from around the globe.

In fact, if there was a defining story, perhaps that was it: the use of the compilation to paint a picture of a musical world that would otherwise be inaccessible. Soundway Records dug up marginally accessible scenes from the past, but comps like Ayobaness!, Afrolution Vol. 2, The Sound of Club Secousse, Oi! A Nova Musica Brasileira! and many others exposed scenes currently in motion. These snapshots became essential listening for anyone with big ears but a limited travel budget.

And so we present our Top 20 world music albums of 2010. Did we miss something you loved? Love something you hated? Let us know in the comments section. And also be sure to listen to the Best Songs of 2010: World playlist.


Juanes, P.A.R.C.E.

20101206-juanes-560x225.jpg Finding an American equivalent to the Colombian pop star Juanes is nearly impossible. He is a consummate love-song singer, but he made his name with a single about landmines ("Fijate Bien"). He cut his teeth on Zeppelin but his music draws much of its propulsion from vallenato, the Afro-Colombian cousin to cumbia that has its home on Colombia's north coast. He's political; he's romantic. He's sort of Trace Adkins, Taylor Swift and Boots Riley rolled up into one. And he makes great pop music.

But is his new album, P.A.R.C.E., great? His fans might not think so. When he debuted the lead single, "Yerbatero," during the World Cup opening concert earlier this year, it was met with a resounding yawn. He even looked a little nervous playing it. And it never reached the top of the Billboard charts, which is nearly unheard-of for a Juanes single. ("Y No Regresas," the subsequent single, has fared better.) He's messing with the formula that's made him such a reliable chart presence — why?


The Best Albums of 2010

20101206-best-albums-2010-560x225.jpg It was as if nobody wanted to admit it was 2010. MGMT released a paean to '60s psyche, Ariel Pink looked back at the '70s and '80s through rose-colored, lo-fi glasses and Broken Bells and Cee-Lo dipped their buckets in the ever-deepening well of '70s soul. LCD Soundsystem plundered '80s avant disco, while Robyn revisited the halcyon days of Swedish pop. On the other end, Janelle Monae peered into the future and saw messianic robots, while Flying Lotus crafted an album that mined the sublime amidst fractured electro future shock. The albums that strained for the zeitgeist -- Kanye West's angry, self-obsessed Fantasy and Arcade Fire's meditation on the mundane crunch of suburban life -- were the most emotionally desperate and revealing. There was more great music, as always, and we've compiled our top 50 albums right here.

Also, be sure to check out our list of the top tracks of the year here.


50.
School of Seven Bells
Disconnect from Desire
Disconnect From Desire sounds like it was recorded in either a church filled with synths or a goth club haunted by the ghost of Siouxsie and the Banshees. The band's sophomore album is not a great departure from its first, though the tracks here are slightly more polished. "Heart Is Strange" has the flirty fun of a Goldfrapp song, while tracks like "I L U" and "Camarilla" have all the elements of a Cocteau Twin dream. The hypnotic coos of identical twins Alejandra and Claudia Deheza are nothing but transfixing, as cool to the touch as Benjamin Curtis' dark, jittery guitar and synths. — Stephanie Benson

The Best Albums of 2010, 30-11

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Albums:   50-31 |   30-11 |   10-1


30.
Matthew Dear
Black City
After his left turn with 2007's Asa Breed, there are no great surprises on Matthew Dear's Black City. Once again, it sounds like he's spent many a long, dark night holed up in his studio, channeling David Bowie and Ian Curtis through the mic while he fiddles with wine-soaked synthesizers. There's more of a full-band feel here, with ropy electric bass lines and daubs of electric guitar, but it's typically broken into off-kilter electronic rhythms. Even in its moments of disco abandon, Dear's Black City is a claustrophobic place to live. — P.S.


29.
M.I.A.
MAYA
Much has been made of M.I.A.'s "terrorist" tendencies, a reputation she exacerbates on album three. MAYA* is an aural assault, battering the listener with a barrage of repetitive lyrics and sometimes grating waves of sound. This is an album that is designed to alienate. Yet "Born Free"'s high-octane dissonance is, if not likable, then energizing. And fascinating (once your ears stop ringing) pockets of sweetness and quiet exist: the electro-dancehall "It Takes a Muscle" (a cover of '80s Dutch group Spectral Display), the Bollywood-meets-sacred-harp "Tell Me Why." — Rachel Devitt

The Best Albums of 2010, 10-1

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Albums:   50-31 |   30-11 |   10-1


10.
Mumford & Sons
Sigh No More
Standing in the front row of an electrified crowd for the opening of Mumford & Sons' set this year at Lollapalooza, I watched a practically hyperventilating girl toss a frayed John Steinbeck paperback at the feet of frontman Marcus Mumford, as if it were a bouquet of roses. As he sang the first lines of "Sigh No More," the titular lead track off the band's debut, Mumford looked down at the book and smiled, as if to say, "How fitting." It's no secret that Mumford borrows lyrical imagery from the Great Depression-era novelist (not to mention fashion tips: he and his band resemble a 1920s traveling revue), but what was a secret, at least around February of 2010, was just how earnest and ebullient an effort he makes doing it. But that secret got out quick. Mumford & Sons spent practically the entire year on the road, moving from small clubs to main stages in a hurry as word of their impassioned sound -- the seeming lovechild of Neutral Milk Hotel and Billy Bragg --got around. Perhaps their success has something to do with context: in these cynical times, Mumford's frightfully earnest messages of love conquering all provide a welcome comfort; the band's somewhat antiquarian sound -- a mishmash of acoustic guitars, mandolins, double-bass, etc. -- is at once a throwback and a reminder that there's still plenty of life to wring from the past, not to mention assorted literary heroes. — G.K.

The Best Tracks of 2010

20101206-best-2010.jpgMaybe it says something about 2010 that the year's most ubiquitous and demographic-defying song was a chirpy '70s soul retread entitled "F*ck You," or that Kanye West's "Power," the most ambitious pop single of the year, paraphrased a quote from Malcom X in an effort to deify hip-hop's reigning enfant terrible. It was that type of year, people, and the songs that we selected as our top 50 tracks are strange, funky, heartfelt and confrontational slices of magnificent pop music. Whether you agree or not, leave us a comment, and don't forget that you can listen to a playlist of all these tracks right here.

Also, be sure to check out our list of the top albums of the year right here.


50. Far*East Movement feat. The Cataracs and Dev, "Like A G6"
49. The Sword, "(The Night the Sky Cried) Tears of Fire"
48. Vybz Kartel ft. Popcaan and Gaza Slim, "Clarks"
47. Ciara, "Ride"
46. M.I.A. , "Born Free"
45. Miranda Lambert, "The House That Built Me"
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Yes, he's of that Baron Cohen family, and for all the humor his clan is known for, this release is an unironic delight that finally gives much-neglected Hanukkah music the updating it needs. In Baron Cohen's hands, "Ocho Kandelikas" becomes a neo-tango burner featuring Ladino-singing diva Yasmin Levy, and "Hanukkah oh Hanukkah" heads for hip-hop territory, thanks to the stylings of Y-Love, a convert to Judaism. Baron Cohen's hit it on the money here, giving these songs equal measures of soul and hard-partying fun. — Sarah Bardeen

Hear It Now!
20101122-calle-13-560x225.jpg When they started out, Calle 13 were foul-mouthed Lotharios whose politics — if they had any — seemed to take a backseat to celebrating sex in all its dirtiest permutations. (That was never actually true, however: the group made its name with a song that castigated the FBI after a murder in Puerto Rico.) Their clever, lewd, slang-heavy lyrics have set a lot of folks on edge, even if they couldn't stop moving to songs like "Atrevete-te-te" or "Tango Del Pecado." It's a different story in 2010, however. The inventive musicality that has always raised them head and shoulders above their Puerto Rican compatriots has found its mate in Residente's increasingly poetic — and pointed — lyrics.

Residente, aka Rene Perez, is the voice on the mic, and he doesn't take it slow. Within the first five minutes of the lead single, "Calma Pueblo," he takes down his record label — "My label's not Sony, my label's the people" — and then proceeds to blast Adidas, Coca-Cola, the White House, radio stations, artists who engage in payola, the Puerto Rican government, journalism, The Sopranos, the Vatican and brand-name clothing. Add the searing guitar of Omar Rodriguez (of Mars Volta fame), and you have dynamite. Literally, in a sense: the album art is suffused with images of improvised explosive devices, and Residente posits himself as someone who's infiltrated the system and plans to blow it up from the inside. Is Residente overestimating his own importance? Of course he is. But in hip-hop, that almost comes with the job description. Elsewhere in the album he likens Calle 13's music to elemental forces — it forces us to move "como los planetas giran alrededor del sol" ("like the planets spin around the sun"). But the fans are given momentous treatment too: "The volume of your body, giving a concert/ Like a hurricane moving the wind."

Young Guns of Narcocorridos

20101122-narco-corridos-560x225.jpg Call it Mexico's gangsta rap. The lyrics are violent, the language is littered with slang, and making paper is the order of the day — pretty much exclusively through drug smuggling. You can even hear the music shaking apart car trunks all over the United States, but that's where the comparisons between gangsta rap and Mexican narcocorridos end. Narcocorrido artists' instruments of choice aren't the sampler and mixing deck: think tuba and accordion, and the rhythmic up-and-down of a guitar. And while most gangsta rappers boast of their own exploits, narcocorrido singers detail the dramas of real-life drug kingpins in Mexico. And singing them can get you killed.

Back in the 1800s, Mexico's corridos ("ballads") were like a living newspaper, and musicians would travel minstrel-like around the countryside, singing the headlines to whoever would listen. Frequently the heroes of these songs were Robin Hood types, stealing from the rich to give to the poor and outwitting corrupt lawmen. The style has its roots in Spanish troubadour music, and it has endured into the 21st century. But in the 1970s, the heroes in corridos began to undergo a subtle but important sea-change. The songs increasingly detailed smuggling drugs across the border, with the characters getting shot up Bonnie and Clyde-style. Bands like Los Tigres del Norte, Los Huracanes del Norte and Los Tucanes de Tijuana were writing the songs, known as narcocorridos (literally, "drug ballads"), though narcocorridos never formed the entirety of any of these bands' repertoires.

Fast-forward to 2010. Mexico is embroiled in waves of violence. Drug cartels control entire regions of the country. And a new crop of singers has sprung up, many of them bilingual and bicultural, born in L.A. and raised in Culiacán, as the story often goes. These singers have embraced the narcocorridos as a way of life; romantic songs have become the exception rather than the norm. Singers are frequently paid — or "encouraged" — to write songs praising cartel members, but they have to be careful. If they're too complimentary, they risk angering rival cartels; if they aren't sufficiently laudatory, they risk pissing off the song's subject. This is no small matter: in 2007, singer Valentin Elizalde was murdered after he mocked drug kingpin Osiel Cárdenas in his song "A Mis Enemigos." In fact, since 2006, at least 13 musicians have been killed, including Sergio "El Shaka" Vega, Sergio Gomez of K-Paz de la Sierra, and Zayda Peña, who survived a gunshot wound to her back, only to be fatally shot in the head later in the hospital.

Other musicians have been arrested for associating with the cartels. In 2009, Tex-Mex great Ramon Ayala and Los Cadetes De Linares were arrested for playing a party thrown by the Beltran Leyva cartel. Musicians are frequently invited to play fiestas privadas; they're not told whose party it is until they arrive, and for many, the money is hard to refuse. (They just have to be careful not to get too friendly with the boss's wife; jealousy can turn fatal.) The drug cartels, for their part, actively cultivate relationships with musicians. Besides asking for ballads celebrating their exploits, they frequently launder their money through unregulated ticket sales at music events. Often they'll funnel money to a musician early in his career so they can collect on the favor later.

Yet despite the grisly reality — or perhaps because of it — Mexicans and Mexican Americans are eating narcocorridos up, thrilled to find music that's as hard as gangsta rap yet also helps them connect to their roots, something that feels like it's truly theirs. And of course, there's the thrill of skirting danger, of partaking — however distantly — in this world of drugs, guns and rampant machismo. Perhaps it borders on voyeurism, but whatever the draw, it's turning into big money for the musicians, without any radio support. Meet the key players of this new narcocorrido generation, and some of the classic groups who paved the way for it. For an extended listening experience, check out our full Young Guns of Narcocorridos playlist.


Mike Patton, Mondo Cane

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Mike Patton performing classic Italian pop? Has the sky fallen, and thrasher hell frozen over? No, Patton just lived in Italy for a while. But here's the weird thing: He's a great crooner. These song sweep and slash, dip and soar, and Patton performs them with brio and just enough audio trickery to suggest something dark under the surface. (This is, of course, Mike Patton. How could there not be?) But overall he's extremely faithful to the originals, saving his menacing showmanship for the live act. The album went to No. 2 on the Billboard classical charts, against all expectations. — Sarah Bardeen

Hear It Now!

Mike Patton's Mondo Cane

mondo_cane_560x225.jpg Earlier this year, Mike Patton — he of Faith No More and Mr. Bungle fame — released what may be his most idiosyncratic project yet: Mondo Cane. Named for the 1960s Italian gross-out documentary that spawned, among other things, the Faces of Death series, Mondo Cane actually features Patton singing classic Italian pop from the '50s and '60s — with a full orchestra and a relatively straight face. If it sounds unlikely, it's not: Patton's ex-wife is Italian, and he spent the better part of six years in the country, learning the language and falling in love with the music. It's a bizarrely great album, one that randomly neared the top of Billboard's classical charts this year. If you knew nothing about Italian pop before Mondo Cane, let us introduce you to some of its delicious, over-the-top fabulousness with our playlist that mingles Patton's covers with the originals. And if you care to learn about the artists who influenced him, read on.


Cheat Sheet: The Drone

cheat_sheet_top_header_560x62.jpg 20101012-drone-CS--560x225.jpg The drone. It's a sustained note that hangs, while music happens (or doesn't happen) around it ... and when you start digging, you can find it everywhere: in Velvet Underground songs (John Cale's viola creates a drone throughout "Heroin") and Irish uilleann pipe music. Bulgarian folk singing and 20th-century minimalism. African American string-band music and doom metal. Indian classical music is built on the drone, as is much classical Middle Eastern music. In the 1960s, American musicians involved with the avant garde Theater of Eternal Music devoted themselves to exploring the drone's possibilities; way back in the tenth century, Japanese musicians used it to underpin their odd and angular court music.

There are also a ridiculous number of instruments that create the drone: The banjo's fifth string is the drone string, while the didgeridoo is all drone, all the time. Most stringed instruments have been used to make it. Some versions of bagpipes, one of the oldest drone instruments, are found all over Europe, from Ireland to Slovakia, and as far afield as Turkey. In India, the harmonium and tanpura are devoted solely to creating sustained notes that anchor qawaalis and ragas, but other instruments including the sarod and sitar can also create that aural haze.

Why does the drone show up in every corner of the earth? We can only theorize. A drone provides an open field of sound, in which the slightest variations in texture can feel enormous. In a world obsessed with time, the drone exists outside it; it elongates time, taking away temporal markers (beats) and leaving us with the musical equivalent of Mark Rothko paintings — one tonal color suffusing the air around you. Anything played on top of a drone is shaded by that constant tonal presence. There may be a spiritual component to it: In classical Indian music, a singer will open a raga by taking an extended improvisation (an alaap), first singing the drone and always returning to it, in a trajectory that supposedly signifies the soul's departure from its source and its eventual return. In my research, I also came across a theory that early drone music was meant to simulate the sound of bees, and was connected to mead (made from honey) and Dionysian rites.

Whatever its origins, we're fascinated by the drone's ubiquity in music, whether the setting is homespun folk, courtly classical music, or modern avant garde and metal excursions. We invite you to listen to a playlist of classic and surprising instances of drone. The set includes everything from French pop to the Stooges, and we supplement it with a bunch of albums that will help you understand just what that five-letter word means when it meets recorded music.

*This list is nowhere near comprehensive. It's meant only to get you thinking, and get you started. Please comment with your additions!
20101012-single-phile-asian-pop--560x225.jpg The release of FaR*eAst Movement's Free Wired is notable for many reasons: The electro-hop crew's mainstream success after years of slogging away in the underground and local circuits. The coining of the word "slizzered." The popularization of ambiguous aviation metaphors. Perhaps most significant, however, is the fact that their major-label debut, containing the hit song "Like a G6," has made F.M. the first all-Asian American group to climb so high on the pop charts.

Asian artists have not historically fared well in American pop music -- or, perhaps more accurately, they have appeared not to fare at all. Try to name an Asian American pop star. If you're struggling, it's not because you haven't been paying attention -- but it's also not because Asian Americans haven't been involved in American pop music since such a thing came into existence. From the Asian big bands that traveled the jazz circuit in the early to mid-1900s to the world-renowned Filipino DJs in the 1990s turntablist movement, from old-school (but still kicking) R&B singer Sugar Pie DeSanto to behind-the-scenes movers and shakers like The Neptunes' Chad Hugo, from Jasmine Trias to Justin Bieber's all-Filipino backing band, Asian Americans have been active participants in pop music history. But that history, like race in America in general, has often been reduced to an almost exclusively black vs. white representation. In the last 10 years or so, Latino artists have begun to get some long overdue attention and chart success. But with a few notable exceptions (remember, for instance, Jin?), Asians have yet to receive the same.

Which is what makes Far*East Movement's success -- and this moment in general -- so exciting. Not only are the members of F.M. trailblazers, they are also not alone on the charts or the pop culture landscape right now. In this edition of single-phile, we review the rather impressive contributions Asian Americans have made to the hit-making universe lately.

Paul Simon, Graceland

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By searching out South African musicians and collaborators, Paul Simon reconnected with both his audience and the joy of making music. This life-affirming album saw Simon abandoning confessional lyrics while maintaining a personal vision. Such fine songs as "The Boy In The Bubble," "Diamonds On The Soles of Her Shoes" and "Graceland" have lived on long past any needless controversy the album once encountered. — Nick Dedina

Hear It Now!
20100914-tito-puente-560x225.jpg Tito Puente is a badass. He composed your favorite Santana song ("Oye Como Va"); he became an initiate (olubata) in santeria, the Afro-Cuban religion that features chicken sacrifices and spirit possession; and he helped create salsa (the music, not the food), though he hated the term. His name is a joy to say, but it's also meaningful: puente means "bridge," and in many ways Puente was just that, a bridge between Afro-Cuban music and big band jazz, between Nuyorican culture and the rest of the world. He brought the timbales front and center in Latin music, which had never been done before, and he also played a raft of other instruments and was a master composer, arranger and conductor. This turgid two-disc collection from Fania lays out the goods in chronological order, starting with Puente's smoking mambo, which made New York's Palladium the epicenter of Latin music in the 1950s. It moves on to his unpublicized but deep connection to sacred Afro-Cuban percussion; touches on his dalliances with boogaloo and bossa nova; and then dives into his ultimate co-creation of the explosive sound of early salsa. It's an exhilarating listen, and one that begs the question: where did he get all these ideas? The man was a dynamo, but some of his influences might surprise you.

Arcade Fire, Funeral

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 "Wake Up" sounds like it was written for a revolution. Arcade Fire didn't start one -- their songs ape the best bits of Springsteen, U2 and the Talking Heads -- they merely sound like it, and in so doing have gotten several folks believing in collectives, Canadians and the power of jams to inspire joy and conviction. This album evokes familial connections, love affairs and the bonds of friendship; if it were a Rorschach drawing you'd say it looked like passion itself. What the band is so exuberant about is simply being a band. Their songs have purpose but could be about whatever you wanted. — Garrett Kamps

Hear It Now!
20100824-pakistan-560x225.jpgEditor's Note: The news from Pakistan is bad. One-fifth of the country's landmass has been flooded and 20 million Pakistanis have been affected. To date, the international response has been, at best, tepid. Rhapsody has compiled a list of credible organizations working on the ground in Pakistan who can make a difference in the lives of people who've lost everything and are now threatened with homelessness, disease and (potentially) starvation. If you're moved to, please donate to one of the charities below. And read on to learn more about Pakistan's rich and enduring musical culture.

Action Aid Pakistan

UNICEF

Oxfam

CARE

To donate by text message, text "SWAT" to 50555, and reply "Yes" when asked to confirm to make a $10 donation.

Pakistan's history as a passageway for every marauding army of the past few millennia has left it a simmering cauldron of ethnic tensions ... and also, incidentally, musically rich. In general Pakistani music hews close to Indian traditions that have drifted up from the south, with the additional spice of Persian, Moghul, Turkish and Central Asian elements. Its classical music works on the same modal, raga-based scale as Indian classical music, and the country is most famous for its ghazals, love songs composed in rhyming couplets and sung in Urdu, a linguistic cousin of Hindi that is one of Pakistan's national languages. (Urdu is traditionally considered a beautiful and romantic language, well suited to poetry and literature.)

Folk traditions continue to be important throughout the country; all are specific to regions and are woven into life's significant events. Pakistan's most famous folk music hails from Punjab, a region split in half between India and Pakistan in 1947, during partition, and chances are, you know it: bhangra. This music, a folk style invented to celebrate the harvest, joined forces with Western instruments and became one of the region's biggest musical exports, a sound that has incorporated hip-hop and become an important part of the desi experience. The music is underpinned by the deep thrum of the dhol, a two-headed drum, which mingles with the high, jangling sound of the single-stringed tumbi. Traditionally the lead singer is backed by a group, who interject rhythmic nonsense syllables to heighten the tension of the song — you'll frequently hear "hoi, hoi" or "bolle, bolle" or the rolled "r" of "brrrr-ah." Bhangra is party music, and it's mad infectious.

On the pop music front, Pakistan, like India, leaves it to the movies. Pakistan's film industry is located in Lahore. Known as Lollywood, it's never rivaled Bollywood in terms of scale or cultural impact, but it has nurtured talents ranging from Noor Jehan (back in the 1950s) to today's hit singers like Imran Khan (not the cricket player/philanthropist). Styles such as rock and hip-hop have small but devoted followings, and for some reason, heavy metal has gained a strong foothold in Pakistan, with bands like Black Warrant gaining international recognition.

But Pakistan's most iconic music is qawwali, the mystical Sufi music that offers its adherents the chance to experience truth and divine love in a direct and personal way. The music most likely has pre-Islamic roots, though for centuries it has served both singers and listeners as a way to get closer to Allah. Qawwali performances are beautiful and marathon events — a single singer performs, usually (though not traditionally) backed by a group of singers and accompanied by the droning, accordion-like harmonium, the tabla drum and a bowed instrument called a rebab. The singer will frequently labor over a phrase for upward of 15 minutes, singing and re-singing it to elicit its depths, using vocal embellishments and elaborations to take what was a simple phrase and render it, in the end, almost without meaning. The meaning migrates to the sound, which becomes a means of experiencing divine union. The music's most famous proponent was Nusrat Fateh Ali Khan, a mountain of a man who became the music's international ambassador before his death in 1997. Though his son carries on his legacy, the female singer Abida Parveen has, in recent years, come to fill his shoes as qawwali's preeminent singer.

Check out some of our picks for great Pakistani albums below. And please don't forget to donate!

Highlife Classics

20100817-high-life-560x225.jpg Ever wonder where The Very Best got that awesome riff that permeates "Warm Heart of Africa"? Wonder no more. The artist was Victor Uwaifo, the song was "Guitar Boy," and the music was Highlife -- the effervescent sound that swept through West Africa from the 1930s into the late '60s. Part calypso, part brass band pomp, highlife was also shot through with swing, Cuban son and -- later -- soul music. But the basic building blocks were always African rhythms and melodies. The result is something that has the joy of early jazz and the DIY ethic of garage rock -- these guys were just going for it. Highlife is seriously fun music, as more than a few indie pop bands have discovered.

Find out for yourself with our Highlife Classics playlist.
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In this interview with Sierra Leone's Refugee All Stars the band discusses the recording of the new album in New Orleans, spirituality and how touring is influencing their musical vocabulary.
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After their hot and sweaty Lollapalooza set, Tomer Yosef, Ori Kaplan and Tamir Muskat of Balkan Beat Box sat down to talk about the relationship of music to conflict, discuss the state of Roma punk today and argue with us about whether or not their latest album, Blue-Eyed Black Boy, is their most diversely influenced yet.
20100713-MIA-SG-rhap-listening-party-575x225.jpg M.I.A. is a unique artist, so when reviewing her new album, MAYA., we decided to go a non-traditional route. The idea was to have a listening party on Twitter, posting up individual song links on Twitter and having four different editors dissect the album one track at a time. The results were compelling, shedding new light on this at-times difficult and impenetrable album. Below is a transcript of the conversation. Enjoy it and make sure that you show up for Rhapsody's next listening party.

Rhapsody's Album of the Day


ana-moura.jpg Ana Moura
Leva-me aos fados

Play!
Ana Moura has sung with Mick Jagger and been scoped out by Prince, but leave the celebrity sightings aside: Moura's the genuine article. On this album, more than any previously, she's found a way to make fado contemporary and engaging. In the album format, fado can feel slow and emotionally monotone -- what was romantic becomes downright depressing after 10 songs. But she combats that with a selection of lively, short (two-minute!) songs that even hide hooks in their velvet folds. Check out her excellent duet with experimental folksters Los Gaiteros de Lisboa, "Nao e um Fado Normal." — Sarah Bardeen

Rhapsody's Album Of The Day


mwaliko Lionel Loueke
Mwaliko

Play!
Mwaliko is as cool a calling card as Lionel Loueke could leave. The album's name means "invitation" in Swahili, and the name fits: The Benin-born guitarist doesn't force you into his world; he draws you in, one elegant track at a time. This remains resolutely a jazz album in its privileging of exploration over hooks and repetition, but every African touch -- and there are many -- adds life and interest. His duets with Esperanza Spalding, the iridescent "Twins" and "Flying," are stunning, and easily the most lively and accessible tracks on a lovely album. — Sarah Bardeen

Definitive Guide to the LAMC

20100706-lamc-575x225.jpg What is the Latin Alternative Music Conference? It's the only gathering in the world dedicated solely to Latino artists who are making hip-hop, electronic music and indie rock, and it's happening in New York City between from July 6 through July 10. LAMC turns 11 years old this year — here's to staving off the adolescent blues with good music — and it's bringing an absolute boatload of excellent shows to New York City this week.

If you'll be in the area, we've got a guide to all the buzz-worthy shows. If you have to sit at home, moping about all the fun you're missing, we've got a playlist to get you up to date on what Latin alt bands are doing right now.

Dig in, and don't forget — all this music and more is available when you join the elite club of Rhapsody subscribers. Why not sign up for a free trial?

Tuesday, July 6
Apple In-Store with Ana Tijoux @ 7 p.m.
We've already waxed rhapsodic (excuse the pun) about Ms. Tijoux. French-Chilean rappers = extremely good. We love her latest album, we love her lyricism, we love her old-school style. Hit this, even if it's hosted by the evil empire.

20100629_africa_world_cup_575x225.jpg Sports fans the world over are obsessing over the World Cup right now (it's the quarter finals! yeah!), but over here at Rhapsody we're obsessing over something a little different: the World Cup opening celebration concert. We're wondering what it said (or at least wanted to say) about Africa. Yes, that's right. We're music nerds, and we care.

A little history. Lately, it seems like everywhere I turn, people are talking about changing the African "story." A recent Financial Times piece by longtime journalist Alec Russell describes how for years he covered South Africa through a lens of expecting its ultimate failure — and he suggests that World Cup coverage might fall into the same trap, embracing stereotypes about the failure of African states. (I would argue it already has.) Angelique Kidjo, appearing at San Francisco's Stern Grove Festival (fresh off her World Cup performance), took frequent breaks from singing to lecture the audience about the need to seek out stories about Africa that don't involve poverty and misery. There's a lot more to her home continent, she told the crowd of revelers, and one story must not dominate.

Even K'naan, interviewed a few months ago, talked about visiting his war-torn homeland of Somalia and being surprised by how life goes on, despite the strife and uncertainty. People are still opening cool cafes and falling in love and getting married, he says, with a sense of wonder and pride.

20100608_world-cup_575x225_02.jpg We aren't experts in futebol over here at Rhapsody, but we do pride ourselves on knowing good play — be it in music or on the soccer pitch. So as the world spends the next month in the grips of World Cup fever, we bring you our uniquely musical take on the game and its players. We've got a monster playlist of the greatest soccer anthems of all time, and below you can sample some of the bands that rocked the 2010 World Cup Celebration Concert last week in South Africa. (Shakira is one musician the entire world seems to agree on.) We've also compiled a roundup of four of soccer's biggest stars, complete with quick histories, fun facts and a survey of which artists might be their musical matches. Click below to get with our guide.

BLK JKS x Brenda Fassie



On the Record is a video series where rock stars gush about their favorite records -- in exactly 45 seconds. Click above to watch BLK JKS talk about their favorite album of all time.

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ARTIST:
BLK JKS

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Upcoming Summer Releases

20100601-upcoming-summer-albums-575x225.jpg Listen to all your favorite artists whenever and however you want with your Rhapsody subscription. If you don't have one, click here to sign up for a free trial and see what we're all about.

It's that time of year again. The weather is hot, the water is warm and the tunes are smoking. Here we've assembled what we think are the most promising prospective releases for the summer of 2010, broken out by genre. Some of these are future classics, some will inevitably be duds and some will probably never be released at all. In the comments field, let us know your expectations for them, and whether there are some albums that you're looking forward to that aren't on this list.


20100601-Rimadoras_Raperas-575x225.jpgIn the world of hip-hop, American or otherwise, female emcees are a rare breed. A quick glance at Rhapsody uncovers about five women among the top 100 hip-hop artists, and only a few of them are actual lyricists. (Hint: Not Ke$ha or Fergie.) In the Latin world, hip-hop is just as male-dominated. Mexican emcee Nina Dioz has described how intimidating it was to start rapping in a world dominated by what she called "angry-faced men."

But like so many of her sisters in the Latin world, Dioz kept at it. She even started a collective, Rimas Femeninas, to create a sense of solidarity among Latina women in hip-hop. When it comes to Latina emcees, you see that kind of chutzpah across the Latin world, whether it's in Spain, where a flamenco dancer named La Shica shaved her head and started rhyming to the dismay of purists, or in Colombia, where a young Afro-Colombian woman named Goyo took up rapping to help put her long-invisible people on Colombia's cultural map. Whatever it has become in the U.S., hip-hop abroad retains its subversive qualities. It's the music of the underdog, and underdogs the world over have embraced it. And being female and Spanish-speaking almost automatically makes you an underdog.

Soundtreks: Balkan Bordellos

20100518_soundtreks_575x225.jpgSpring has sprung and new albums seem to be sprouting up like dandelions in the lawn of, um, some tortured analogy. (Okay, let's leave analogies to the poets.) It's been a mixed season in the worldly realm, with some false starts and some great surprises. Let's tour through them.

grupo_fantasma_bbq.jpg Grupo Fantasma is arguably Austin's favorite Latin band, a group who's remained close to its roots even as Prince came knocking and the Grammys beckoned. They've gained a following thanks to their dynamic live shows and their purposefully unpolished approach to their cumbia-funk-Latin-soul-salsa hybrid. (The members are musically promiscuous: they also loan their talents to various other outfits, including Ocote Soul Sounds and Brownout.) The band's new album, El Existential, was just released on National Geographic Records, and it's a humdinger: salsa great Larry Harlow guests, as does a Meat Puppet. (Read on to find out which one....) We spoke with band member Greg Gonzales about what it's like to play at Prince's house parties versus Iraq -- they've done both -- and even got the lowdown on a dream day spent out and about in Austin.

 

Click here to listen to start listening to El Existential. Or check out a playlist of some of the band's favorite songs by other people. And if you want to sign up for Rhapsody and get access to all this great music and more, all the time, do it now!


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All the African jazz you want can be yours whenever you want with your Rhapsody subscription. Click here to sign up for a free trial and see what we’re all about.

It's 1956. Louis Armstrong has just landed in Ghana with a film crew in tow. (And Edward R. Murrow! Think George Clooney in Good Night and Good Luck.) A crowd of 10,000 souls has gathered at the airport, plus every nightclub band in Accra, the capital. Satchmo leaves the plane, trumpet in hand, and 13 bands break into song simultaneously — a number called "All For You, Louie, All For You." The crowds surge over the barriers, and Satchmo and band pick up their instruments and start playing too, quickly picking up a highlife tune they've never heard before. Mayhem ensues. For the next three days, jazz's greatest ambassador is feted by the prime minister, carried through crowds like a king, and viewed by an astonishing assembly of 100,000 people at an outdoor concert cut short by the absolute chaos.
20100316_soundtreks_chieftains_575x225.jpgThe music of the Chieftains is yours to listen to whenever and however you want with your Rhapsody subscription. Click here to sign up for a free trial and see what we’re all about.

It's kind of impossibly romantic, the tale behind the Chieftains' latest album. Imagine it: a raft of recent immigrants get conscripted by the American army, find themselves fighting a war they care nothing about (and even worse, fighting fellow Catholics), so they desert ... and get taken in the by very folks they were fighting. And then proceed to fight for them!
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Van Morrison, Horslips and every other artist mentioned here are yours to rock out to whenever and however you want with your Rhapsody subscription. Click here to sign up for a free trial and see what we’re all about.

Van Morrison and Rory Gallagher started Ireland rocking with their respective bands, Them and Taste, back in the '60s, and the nation has kept it up through almost 50 St. Patrick's Days since. And while songs by the Cranberries and Snow Patrol that might as well be sung by actual leprechauns are obviously not unheard of, and there are occasional Bonos who'd prefer to be the Pope, the Emerald Isle's specialty is rowdier stuff that tends to go quite well with green beer. A brief primer is below; a longer playlist can be found here.

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Four years after his death, Ali Farka Toure remains a towering musical figure. He was Africa's John Lee Hooker and Robert Johnson rolled into one, with a bit of Alan Lomax thrown in for good measure. A phenomenally original guitarist, he was also a polyglot who used his fluency in seven languages to spend decades collecting folk songs from Mali's vast array of ethnic groups. (He also created, in the process, a little thing we now call desert blues.) Any new album from this man is an event, and this week sees the release of what may prove to be his final masterpiece: Ali & Toumani.
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Joe Cuba, Tito Puente and every other artist mentioned in this article are yours to rock out to whenever and however you want with your Rhapsody subscription. Click here to sign up for a free trial and see what we’re all about.

African American and Latin American musical influences had been commingling at least since Dizzy Gillespie hired Havana conga drummer Chano Pozo in the late '40s, and have continued to do so ever since — through fairly recent genres like reggaeton and urban bachata, for instance. But no other such hybrid has ever sounded as unhinged as the Latin boogaloo music that exploded out of New York City's outer boroughs and Spanish Harlem through the mid- to late '60s — in fact, in a decade of crazed garage rock and cold-sweating funk (both of which boogaloo absorbed), this may well have been America's wildest dance music of all. An excellent new Joe Cuba compilation on Fania, El Alcalde Del Barrio, is only the latest evidence.
concentric_pleasures20100216_575x225.jpg Pantha Du Prince, the Juan MacLean and every other act mentioned in this article are yours to jam whenever and however you want with your Rhapsody subscription. Click here to sign up for a free trial and see what we’re all about.

Last week I checked in on some of the bigger electronic releases of early 2010; this week I want to talk about some of the records that slip under the radar but are every bit as deserving of mention, promising plenty of surprises. Animal Collective's Panda Bear turns up on moody minimal techno from Berlin's Pantha Du Prince. L.A.'s hip-hop mainstay Stones Throw indulges a fetish for bleak, bleepy New Wave. Lukas Ligeti (the son of modernist composer Gyorgy Ligeti) continues his exploration of African music with his multinational ensemble Burkina Electric, while Ninja Tune's Jaga Jazzist stretch acid-jazz fusion to the breaking point. And if it's dancing you're after, your next house-party playlist isn't complete without four incredible new remixes of the Juan MacLean, taking the DFA housemeister into the peak hour and beyond.

Haiti Donate.jpg Since a catastrophic earthquake struck Haiti on January 12, people around the world have mobilized, searching for ways to help this tiny nation in its time of need.

The good news is, you can help. Right now, the biggest need is money -- money to get supplies to people, fly in doctors, set up clinics, clear the rubble, re-establish some basic services. In time, as Haiti rebuilds, there will be a need for goods and services. But right now, money will grease the wheels to keep this massive relief effort going.

The following organizations will evenly split the proceeds from Hope for Haiti Now: A Global Benefit for Earthquake Relief, which will air Friday, January 22 at 8 p.m. on major television networks and websites, including this one. You can donate during the event, or reach out this minute and give directly to the organizations, using the links below.

Hope for Haiti Now Charities
The Clinton Bush Haiti Fund
Oxfam America
Partners In Health
American Red Cross
UNICEF
United Nations World Food Programme
Yele Haiti Foundation

A Love Song for Haiti

emeline_michel575x225.jpgThe news out of Haiti is bad, to put it mildly. International aid efforts are still only a trickle, hardly enough yet to help hundreds of thousands of people who have no shelter, no water, little food and a lot of death around them. The world is watching obsessively, visions of Katrina and the tsunami not exactly dancing in our heads. Get it right this time, we all seem to be silently imploring the powers that be.

Not that we have that much power. So Rhapsody has decided to pay tribute to this tiny nation the only way we know how -- by celebrating its music. Take a journey with us via our Haitian music sampler, learn about Haiti's musical history after the jump, and while you're at it, please take the time to donate to one of the relief agencies participating in "Hope For Haiti Now: A Global Benefit For Earthquake Relief," which will air Friday, January 22nd on major television networks and websites, including this one. Learn more about the event, watch it and find links to the participating charities here.

And don't forget to sign up for your free trial if you haven't already ... because Rhapsody subscribers have access to all this great music, all the time.
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SoundTreks: A regular feature on the music the other 97 percent of the globe is listening to.

A lot of debate has occurred over the course of music history about whether music itself can really effect political change. In real life, the connection between music and change often seems tenuous at best -- the dream of an aging hippie or an over-eager musicologist -- in the face of more direct or even violent means of revolution. But then, every so often, you hear a voice like Mercedes Sosa's, and all that skepticism washes away. Sosa's songs weren't always political, nor were her performances always even necessarily connected to revolutionary movements (despite the Argentinean government's opinions to the contrary). And she herself said, "Artists are not political leaders. The only power they have is to draw people into the theater." But the weapon the woman had at her disposal, which she often called the "voice of the voiceless," was precisely that: her powerful, compelling voice, a voice rich enough to convey her convictions, a voice capable of inspiring people and giving them strength.

Born in 1935 to a poor family in San Miguel de Tucuman (in Argentina's sugarcane country), Sosa won her first singing competition at age 15 and went on to help pioneer the musical-political nueva cancion movement that swept Latin America in the 1960s. The movement shed light on the concerns of the working people and the disenfranchised in the face of oppressive dictatorships. Though she was not known as a songwriter, Sosa put her own distinctive stamp on many of her peers' tunes, imbuing their tales of struggle and protest with her versatile style (which drew from not only Argentinean folk traditions, but also a wide range Latin genres), her bombo drum and, especially, her evocative contralto voice. In the 1970s, the ruling military junta took notice of her influence (as well as her connections to leftist groups), and the government's harassment forced her into exile. She lived for several years in France and Spain, brokenhearted and working as a musician and a teacher. When she returned to Argentina in 1982, she discovered that she had become a folk hero for her oppressed countrymen. She retained that esteemed position for the rest of her career.

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A few of the thousands of mourners who came out to pay their respects in Buenos Aires

Over the course of her career, Sosa released 70 albums (several of which won Grammy and Latin Grammy awards), performed in venues like Carnegie Hall and the Coliseum, collaborated with artists ranging from Caetano Veloso to Pavarotti to Joan Baez, and served as a UNESCO goodwill ambassador. When she passed away on October 4 due to liver, kidney and heart problems, we lost one of Latin America's most beloved singers and a compassionate musical visionary. But the mark that powerful voice left on the world is indelible and prolific.

Take a listen to a few of the late, great Mercedes Sosa's most powerful moments below. Or Rhapsody users can listen to a full selection of her best work on this tribute playlist, a mere tip of this artist's considerable iceberg of work:

Playlist: R.I.P. Mercedes Sosa, 1935-2009

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SoundTreks: A regular feature on the music the other 97 percent of the globe is listening to.

Two very exciting new releases for world nerds (like yours truly) came out this week: the second album from Brazilian neo-bossa ingenue CeU and a fabulous new greatest-hits collection from the self-proclaimed (and rightfully so) Magic Couple, Mali's blind husband-and-wife duo Amadou & Mariam. These two albums might seem disparate, coming from far corners of the globe and encompassing vastly different styles. But I'm willing to put money on the theory that they share a fan base -- one that is enamored of elegant, evocative (and sometimes pensive) vocals, impeccably graceful songwriting and an aesthetic that intertwines respect for tradition with a penchant for organic innovation. Read reviews of both albums by our own Nick Dedina after the jump.

Just to make things interesting, however, we're also going to throw a few more items into this week's column in the form of three albums that really are pretty distinct: the Yoshida Brothers' new best-of album, the sophomore effort� of Mexican cumbia boy band Los Super Reyes, and the first stateside release of Balkan brass band rock star Goran Bregovic. Together, these five albums help to demonstrate the exciting, often exhilarating ground a "SoundTrek" through the world of world music can cover.


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SoundTreks: A regular feature on the music the other 97 percent of the globe is listening to.

So many fabulous albums have come out in the last few weeks that we decided to dispense with the thematic format on this week's SoundTreks and focus instead on surveying a hodgepodge of new releases. Sound good? Well, of course it does -- just listen to the playlist of material discussed in this post!




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It's weird, going back to school in your late '30s. Ok, it's not really "school," it's just German class. (I've been living in Berlin since November, and it seemed time to move beyond the "Ein bier, bitte" phase.) Still, it's class -- four hours a day, five days a week, beginning at 8:30 in the morning, every morning. That might not sound like much to anyone earning a legitimate living, but for someone whose work revolves around late nights and deadline panic, the structure and the hour are humbling. To cope, I've found myself unexpectedly setting my alarm earlier than need be, to carve out an hour for coffee and the Times online. For the first time in my life, I've become a morning person.

But a morning person needs morning music, and I've been on the search for just the right records to come alive to. I've found some gems: Jon Hassell's fantastic new album for ECM, Last Night the Moon Came Dropping its Clothes in the Street, unfolds at a pace and with an easy grace that's perfectly suited to the mushy mind; I'd say that it feels a little like yoga for the ears, if that didn't sound so icky. And Mocky's lullaby-like Saskamodie works just as well at the opposite end of the day.

The point, in selecting a daybreak soundtrack, is the pacing: I need a selection of songs that moves, over the course of an hour, from gentle to quietly rousing to full-on emboldening. (How the heck else am I going to face all those declensions?) The playlist below (and posted here at Rhapsody's Playlist Central) is a first attempt at just such a mix, skewing towards reassuring ambiance, "world music" oddities, glowing oldies and unabashed sentimentalism. What's in heavy rotation for you, first thing in the morning?

SoundTreks: Jewish Hip-Hop

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SoundTreks: A regular feature on the music the other 97 percent of the globe is listening to.

"A long-oppressed people historically forced into ghettos rhyme about the sometimes violent conflict they are embroiled in over issues of ethnicity, economics, or turf." Sound familiar? Well, contrary to what it might sound like, this is something I wrote in my review of Celebrate Hip-Hop, a 2004 compilation of Jewish hip-hop from around the globe. With the glaring exception of the Beastie Boys, "Jewish hip-hop" sure seems like an oxymoron in the American public imagination. Add a globally minded touch of world music to that combo and things get even wackier.

Hip-hop is a powerful medium, however -- one that's become known for its ability to zigzag across the globe and speak to the socio-political concerns and aesthetic needs of activist-musicians in many places and cultures. In the last several years, Jewish emcees and producers from around the world have been making some important contributions to the genre. This week's SoundTreks explores several very distinct albums that demonstrate the breadth and depth of the Jewish hip-hop niche.

Vieux-Farka-Toure_blog.jpgIt's not easy to follow in Dad's footsteps when Dad is considered one of the greatest musicians of the 20th century. But Vieux Farka Toure, son of Malian desert blues pioneer Ali Farka Toure, isn't one to shy away from a challenge. Actually, scratch that: he absolutely is. The elder Toure wanted his son to join the army, and Vieux briefly complied (unwillingly). But he nurtured a secret love affair with music, first learning percussion and then finally picking up the guitar, his father's instrument. Once he started on the guitar, it was all over. Vieux went against his father's wishes, giving up the military for music and forging a mentor relationship with close family friend (and master kora player) Toumani Diabate.

His father finally came around -- with intervention from Diabate -- and played on a few tracks on Vieux Farka Toure's self-titled 2007 debut, just before Ali's death. Though the younger Toure is still finding his feet as a performer and singer, he's grown increasingly comfortable in the spotlight -- and it helps that he really has the musical goods to warrant the recognition he's getting. Even Diabate was surprised by the beauty of Toure's playing on the demos for his debut album -- and he's been championing the kid for years.

Toure's second album, Fondo, was released earlier this week on Six Degrees Records, and it's remarkable: neither a carbon copy of his father's style nor an over-eager attempt to improve on tradition -- just a thoughtful, beautifully played, adventurous release. The guitarist generously took some time out of his touring schedule to answer our questions over e-mail. Not every musician can express himself well in words, but I was bowled over by Toure's friendly, openhearted responses -- and the thoughtfulness that runs through both the album and this interview. Meet desert blues' next great ambassador!
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The last few weeks have seen some great moments as well as some sad moments in world music. First things first. R.I.P. to Coumba Sidibe, the great Mali-born singer who pioneered the Wassoulou sound and who died last week at her home in the Bronx. While Sidibe never gained an international following on the scale of that of Oumou Sangare (who was once a backup singer for her), she was a trail-blazing musician who began making music at a time when women were a rare commodity in Mali's music industry. She passionately devoted herself to adapting the traditional music of her Fulani heritage into the Wassoulou sound, as well as composing and recording her own work. She was just a wonderful singer. I don't think anybody is quite sure when she was born, but she died May 9, 2009.

On a happier note, Federico Aubele, the tango-tronica hero who enjoyed so much crossover success with Gran Hotel Buenos Aires, is back with another album. It's called Amatoria, named for Ovid's Latin tract on how to pick up (and retain) chicks, the Ars Amatoria. So yes, if you think Aubele might be trying to sex you (or somebody) up, you're right. It's also a further departure sonically for Aubele, who seems to have grown dissatisfied with his electronic meddling with tango; this is his second album that's seen him moving toward a nearly acoustic sound. He sings on every track, accompanied by guests like Miho Hatori (Cibo Matto) and Sabina Sciubba (Brazilian Girls), but I found that after about five songs everything sounded more or less the same. Aubele's got a great sensual growl going, but, as my dad might say, writing a good melody is hard work. Lovely as the album is, Aubele's still got a ways to go in that department.

On the other hand, Marcio Local's new album -- his first to release in the States as far as I know -- has no problem with melodies: he just lifted them wholesale from Jorge Ben. But ... okay. If you're going to steal, you might as well steal from one of the greatest artists of the twentieth century. And he didn't exactly steal the melodies -- just the feel. Local's gruff-voiced Brazilian funk had steam pouring out of my headphones, and it also had me dreaming, weirdly, of beach volleyball. What do I care for beach volleyball? Nothing. But such is the power of Local's evocative sound: it makes you want to play beach volleyball even if you look terrible in a thong and can't walk two feet without using an inhaler. And it came out on Luaka Bop, David Byrne's label, if that holds any weight for Talking Heads fans out there.

Finally, if you haven't read it yet, check out Rachel Devitt's take on Afterquake, a collaboration between Abigail Washburn (noted banjo player and Bela Fleck's girlfriend!) and the Shanghai Restoration Project. The album is devoted to exploring life after last year's devastating earthquake in Sichuan province, China. Have a listen to the album, too; it's for a good cause.
 
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SoundTreks: A regular feature on the music the other 97 percent of the globe is listening to.


The Shanghai Restoration Project have always, true to their name, been focused on renovation. Usually, that rehabbing spirit has been more metaphorical: the group, founded by Chinese American producer Dave Liang, expertly reworks Chinese folk and classical music and hip-hop, blending them in a hybridized mash-up that is danceable and evocative, traditional and innovative. This year, however, besides releasing an album of their own, S.R.P. paired up with globally minded Americana singer-songwriter and clawhammer banjoist Abigail Washburn to do some slightly more literal rebuilding with their innovative joint project, Afterquake.

Take a listen to some of the Shanghai Restoration Project's reconstructions (including Afterquake) on this playlist. To keep reading about this fascinating collaboration and other S.R.P. recordings, click the link below the playlist.



Essaouira.jpgYou stumble over it in the street. You hear it blaring from cassette stands (yes, cassettes) in the Jemaa el Fna. You discover that jazz musicians all want to make fusion with it ... I'm talking, of course, about Gnawa music, the underground sound of Morocco.


Officially, Morocco's national music is classical Andalusian, the stately (and undeniably magnificent) sound fashioned back when the Moors were living it up in Spain. But you don't even have to scratch the surface of that veneer to hear it crumble. Staying in the Moroccan coastal town of Essaouira, home to the annual Gnawa music festival, I found Gnawa music spilling from the most unexpected places. At the tiny riad in the old city, our desk clerk, Nabil -- an adorably hip young man who was rocking out to Louis Prima the first time I met him -- confessed that his main ambition in life was to fuse Gnawa and electronica. (That night he proceeded to break out a guembri and sing us a few songs in an old-man voice that seemed at odds with his lithe, Brooklyn-esque presence.) Later, when I wandered into a local music shop and asked about hip-hop, the clerk threw a disc in the deck. What did I hear? Gnawa music, followed by some seriously fresh-sounding flows in Berber and Arabic.

Gnawa and hip-hop, Gnawa and jazz, Gnawa and peanut butter -- the music has become Morocco's lingua franca, a key that seems to unlock musicians' creativity no matter the genre. It's Morocco's blues music, born of slavery and strife, oppression and displacement -- the sound that sub-Saharan slaves brought with them as they made the journey through Arab slave markets to Morocco, starting back in the 11th century.

Perhaps you're wondering what Gnawa music and peanut butter sound like? Listen to the playlist below to find out. Or to keep reading about this cousin to the American blues, click the link below the playlist.

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SoundTreks: A regular feature on the music the other 97 percent of the globe is listening to.


When you think of "world music" (debates about whether that term is a misnomer aside), Canada probably isn't the first place that jumps to mind. We Americans tend to think of Canada as this, uh, less interesting version of us, whereas we like to think of world music as coming from someplace both geographically and artistically remote (again, saving the politics of that debate for another time). (Not to mention that when we put the word "Canada" next to the word "music," an image of Celine Dion inevitably springs to mind.)

But our friendly neighbor to the north is host to more than enough good sounds to (almost) purge the memory of "My Heart Will Go On" forever from your ears. This week's SoundTreks is the first in a short intermittent series of posts about Canadian world and traditional music, a topic that will dance across Cape Breton fiddling, Acadian dance jams, Vancouver global fusion, and First Nations hip-hop, among others.


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M.I.A.

I spend part of my work week crafting thematic playlists -- artist overviews, label profiles, irreverent flights of fancy -- many of which turn up here on the blog. (You can see all of them on my page at Playlist Central.) Usually the topic is up to me, but occasionally I'm given an assignment like last week's, which asked editors across all genres (mine is electronic music) to come up with a decade-specific list. 

Obviously, that poses a challenge for a genre already so closely identified with just a couple of decades. Electronic music wasn't born yesterday, to be sure: the Theremin was invented nearly a century ago, and synthesizers and tape-splicing were in use by the 1950s, leading to an explosion of activity, from Stockhausen to sci-fi soundtracks (to the Chipmunks). By the '70s, disco, electro-funk and hip-hop were all recasting popular music in a purely electronic form, paving the way for the synth-pop, industrial and house music of the '80s. And I don't think I really need to remind anyone of the way all manner of electronic music exploded in the '90s.

By this point, '80s and '90s recaps are bound to cover familiar terrain (although I must say that I am eager to see a reappraisal of the minimalist and ambient electronica of the early '90s -- Seefeel, Sun Electric and the like -- as more of it becomes available online). I thought it might be more interesting to focus on an aspect of the present decade -- and a development, moreover, that's really only emerged since the turn of the '80s. From where I'm sitting -- in Berlin, to be specific, after years-long stints in Barcelona and San Francisco -- the obvious candidate is electronic music's growing global consciousness.

Electronic dance music has always been an especially mobile form, thanks in part to the diminished role that vocals (and hence languages) play. But as house, techno, hip-hop and other electronic forms have continued to spread worldwide, they've sprouted up in new, unusual forms just about everywhere they've touched down. It's only fitting that a music whose roots dig into the soil of at least three continents should produce further mutations in Argentina, Brazil, South Africa and Angola, to name just a few points on an increasingly crowded map.

M.I.A.'s "Paper Planes" was just the tip of the iceberg (or perhaps that should read, "nose of the jetliner"?). Her international smash shares DNA with kuduro, kwaito, cumbia, funk carioca and every other proudly mongrel style that has come from local kids getting their hands on samplers and rewriting the rules to suit their own purposes.

My decade playlist, "Global Beats for the '00s," salutes those circuit-benders and margin-walkers -- along with their allies from America and Europe -- helping to spread the global gospel. It includes 29 tracks from the likes of Buraka Som Sistema, Ghislain Poirier, DJ Mujava, Radioclit, DJ Rupture, Filastine, Mexican Institute of Sound and more, with detours via Cesaria Evora (as remixed by Carl Craig), Juana Molina and everyone's favorite Chilean-German DJ, Ricardo Villalobos. Click here to eavesdrop on these beatmakers' global game of "telephone."
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Many groups can claim to have influenced the revival and flowering of Irish traditional music, but the Dubliners were, in so many ways, the first. This was the group that went to the country and resurrected dying songs -- they copped their major hit, "Seven Drunken Nights," from a little-known sean nos singer named Joe Heaney -- and brought live music (the now indispensible "sessions," or seisiuns) back to bars in Ireland at a time when it was nearly nonexistent.


In this day and age -- and in this country -- it's hard to understand just how revolutionary the group was, and just how repressed Irish culture had been for centuries. The English in Ireland tried out tactics they later used around the world in their colonial endeavors: denying "natives" the right to use their own language in 1387, banning "Irish clothes" and banishing the Irish from walled towns, clearing them off their land, etc . Phrases like "beyond the pale" originated in Ireland, describing the zone outside the "civilized" English-controlled towns. That legacy, coupled with the famine of 1848 and waves of migration and economic stagnation, had left the country decimated, clenching a robust and punitive Catholicism in one fist and a bottle of booze in the other. We've all read the stories: Frank McCourt's litany of hardships in Angela's Ashes, the violence and hard-drinking in books like Roddy Doyle's Paddy Clarke Ha Ha Ha or The Woman Who Walked Into Doors, or films like The Magdalene Sisters.

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Indian film star Shahrukh Khan.

Slumdog. It seemed like everybody in the country fell in love with that film, and the Academy fell over itself agreeing. Eight Oscars! Danny Boyle was the driving force behind it, and its reckless pace was hallmark Boyle (Trainspotting). But the things we love about Slumdog are, at heart, also classic tropes of Mumbai's sprawling film industry, better known as Bollywood. When you think Bollywood, think big emotions, doomed romance, high drama -- and dance scenes, baby, dance scenes. Plot points matter less than taking the viewer for an extravagant, emotional rollercoaster ride. For years mocked as a niche genre (despite being by far the world's biggest film industry), Bollywood is beginning to get its due around the globe -- particularly in these recession-inundated times, when people find themselves craving escapism and sweeping emotion simultaneously. But for Bollywood neophytes, where to start?
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A member of the National South Korean folk ensemble plays the kayagum, arguably Korea's most famous instrument.

SoundTreks: A regular feature on the music the other 97 percent of the globe is listening to.

Like South Korea itself, which is all too often overlooked by backpackers and travelers on the Asia circuit, South Korean music is relatively unknown outside Korea. Which is a real shame, because the country's soundscape is a fascinating mix that encompasses everything from revered traditions stretching back thousands of years to blazingly ephemeral pop songs that echo across the wide expanses of always-changing, always-moving Seoul at any time, day or night. In short, it is not to be missed.

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Filipino folk musician Grace Nono.

SoundTreks: A regular feature on the music the other 97 percent of the globe is listening to.

The Philippines is all too often epically ignored by the world music industry. The island nation's snubbing is in large part a result of twin colonial legacies. First, there's the imperialist notion (perpetuated by more than 400 years of Spanish, American and Japanese colonialists) that the Philippines has "no culture" (whatever that means). Second, there's the truth: the more than 7,000 islands that make up the Philippine archipelago are actually host to more than 180 ethnic and language groups. These groups were lumped together by colonizers who typically paid little attention to the myriad distinctive precolonial cultures or the creative ways Filipinos have negotiated outside influences.

Enter Grace Nono -- musician, composer, producer, label owner, activist and champion of diverse Filipino cultural practices, including music, art, theater, and healing and spiritual traditions. Nono got her start as a much-heralded solo artist, carving a niche for herself in the Philippines' alt-rock scene with her neo-folk-pop in the 1990s. Nono's music is dizzyingly wide-ranging and often just slightly avant-garde, but the constant is her artistic vision: the combination of indigenous folk melodies and rhythms with global pop aesthetics. Since her critically lauded debut, Tao Music, in 1992, Nono's solo output has slowed down as she has diverted her focus to other projects. Her two most recent albums, however, continue to showcase her overlapping visions of innovation and tradition.

Philadelphia-based DJ, songwriter and producer Diplo.

SoundTreks: A regular feature on the music the other 97 percent of the globe is listening to.

One month into 2009 and we're already staggering under the great releases. Some of them have been bubbling in Europe for awhile: Rokia Traore's bird-bone delicate Tchamantche, Mariza's melancholic but slightly more pop-oriented Terra (check out that luscious collabo with Tito Paris, "Beijo De Saudade"). Others have seemingly popped out out of nowhere -- like Cesaria Evora's lost tapes from an impromptu recording session in Cape Verde 40 years ago. And then of course there's the musically ravenous Diplo, a DJ/producer who's helped make M.I.A. a pop star. Get caught up on the latest releases -- and listen to a free sampler after the jump.

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We asked some of our favorite musicians to tell us about some of their favorite artists, songs and moments from 2008. Here's what Swedish metalheads In Flames had to say about the year in music.

Favorite album:
Who the hell released albums this year?  [Laughs] I think, this is not a metal band but it’s a band called Glasvegas, from Scotland.  That is an amazing album.  I mean it’s kind of depressing in a way, but to me it’s in an uplifting way.  A lot of darkness and sadness in the songs and everything, but to me I find beauty in these things as well.  A lot of my friends were like “how can you listen to this stuff?”  I love when things go in a new, darker and more depressed stage.

Dig This! Curumin

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DIG THIS FREE MP3 DOWNLOAD: Curumin, "Compacto"

Curumin is the Quannum artist who shouldn't be. On a Bay Area label of underground rappers, the young man born Luciano Nakata Albuquerque is a Brazilian multi-instrumentalist who doesn't rap and is, in many ways, an old-fashioned songwriter. But when Quannum co-founders Blackalicious toured Brazil in 2004, Curumin's manager slipped his first album, Achados e Perdidos, into their hands, and the group listened. What they heard seriously impressed them: a young man who had Stevie Wonder on the brain, James Brown in the beats and Jorge Ben in the melodies. Shortly after, they signed him.

Two things drive Curumin: a powerful nostalgia for the simplicity of childhood and a voracious appetite for new sounds. JapanPopShow, his second album, is a vintage-era masterpiece. But, for all its diverse influences -- Brazilian pop, soul, funk and reggae  -- it's also a complete musical universe. There are no loose threads. And given how beautifully textured the album is, perhaps it's not surprising he's a Quannum artist -- any hip-hop producer would want to sample these songs. (In fact, several rappers guest on the album.) We caught up with Rhapsody's Dig This! artist in early November, and asked him about all the usual stuff -- the album's name, his inspirations -- but we got a lot more: meditations on youth, our modern world, and what tradition means in the age of globalization.

[Click the "Continue Reading..." link to listen to a playlist featuring the music discussed in this post.]

Q&A: Natacha Atlas

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UN Goodwill Ambassador, bellydancer extraordinaire, bicultural and multilingual -- Natacha Atlas is a bit like Shakira and Angelina Jolie wrapped up into one. The English/Belgian/Egyptian singer was a longtime member of global dance gurus TransGlobal Underground, and when she went solo in 1995, she continued with that group's fusion of Arabic music and dance beats. But this year, Atlas tried a very different kind of fusion -- she returned to the classical Arabic music of her youth, and sang it with a small, string-heavy ensemble. The resulting album, Ana Hina, has won her accolades around the world.

Atlas gave us some insight into why she made the album and what it's like growing up belonging to two cultures. She also confesses she once sang and bellydanced with a salsa group, which proves she actually beat Shakira to the punch. More after the jump.

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SoundTreks: A regular feature on the music the other 97 percent of the globe is listening to.

One of my favorite albums of 2008 (so far) has been En Este Camino by Pistolera. I've described this New York band's sound as Mexican regional, Latin alternative and American indie stitched together in a sonic tapestry that is at once comfortably familiar and chicly cutting edge. Rhapsody's Latin editor Sarah Bardeen was a bit pithier: "previously at-odds elements like accordion and indie rock drink a Corona and lime together." The band itself, which has made nice with the likes of Lila Downs, Ozomatli and the Mexican Institute of Sound, gets even more succinct, referring to themselves as simply "alt-folklorico."

[Click the "Continue Reading..." link to listen to a playlist featuring the music discussed in this post.]

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Welcome to the November 2008 version of Dig This! Every month, Rhapsody’s editorial staff will introduce you to a few artists you may not know, give you a chance to check out their music, and present them in their own words -- watch this space for upcoming features on the individual artists. Oh, and we’ll throw you some free downloads from them, too.

This month in Dig This!:
Curumin, a Brazilian of Spanish-Japanese descent who fell in love with American hip-hop and Jorge Ben at the same time.

San Quinn, an underground rap legend in the Bay Area, prolific and celebrated locally, but only now starting to break out on the national stage.

School of Seven Bells, a Brooklyn trio that combines gorgeous harmonies, a world of rhythms and some ecstatic studio sense to create beautiful psychedelic pop jams.

[Click the "Continue Reading..." link to listen to a playlist featuring the music discussed in this post.]

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Miriam Makeba led quite a life: she was the first African woman to win a Grammy. She performed before great political figures of her time, including John F. Kennedy and Nelson Mandela. When she gave an impassioned speech against apartheid before the United Nations in 1963, the South African government responded by banning her records -- and keeping her in exile from her home country for 31 long years.

Makeba never wanted to be at the center of the world's cultural storms; she simply wanted to sing. But what she chose to sing defined her life and career. She sang traditional songs from her Swazi and Xhosa backgrounds; she sang jazz and township music; she sang of joy and of struggle. Her own and her people's.

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SoundTreks: A regular feature on the music the other 97 percent of the globe is listening to.

"World music" has always been something of an ironic (not to mention ironically limited) descriptor: The "world" in world music doesn't include significant parts of Europe and North America, the music of the whole "world" is given a disproportionate amount of global media and promotional attention, etc., etc. One of the less central (and less often discussed) ironies of the industry, however, is that Asian music, in general, and especially Asian pop music (with the occasional J-pop exception) just doesn't circulate through the world music conduits all that readily. To some degree, the rest of the world's lack of access to Asian pop has to do with differences in local music industries. But it also might be related to a general dismissal of commercial Asian pop as just a bunch of sappy ballads and canned beats.

And okay, yes, there are actually a lot of sappy ballads -- although we shouldn't be too quick to write that material off either. But that's another SoundTrek. Today we're talking about the peppier stuff in the Asian pop oeuvre, particularly in the region's videos. And, oh boy, are there plenty of downright campy, deliciously candy-coated nuggets there -- the stuff that makes pop everywhere good and addictive. Moreover, there's a kind of joie de vivre (and sometimes a wacky plotline) that's often missing from Western pop.

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SoundTreks: A regular feature on the music the other 97 percent of the globe is listening to.

Buena Vista Social Club returned from the dead (almost literally) last week, and this week Puerto Rican rappers/provocateurs Calle 13 took on the living, breathing lyrical fire. (Colombian rock outfit Aterciopelados wasn't far behind on that front either.) Plus, a sneak preview of songs from a hotly anticipated Bollywood flick, and Los Lobos guitarist David Hidalgo goes folkloric ... again?

[Click the "Continue Reading..." link to listen to a playlist featuring the music discussed in this edition of SoundTreks.]

SoundTreks: Turkish Pop

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SoundTreks: a regular feature on the music the other 97 percent of the globe is listening to.

Turkey, situated quite literally on the imaginary line that divides East from West, Asia from Europe,  is home to both millennia-old sites of civilization and bustlingly modern metropolises. So, it's not surprising the region has fostered some pretty fascinating musical culture and genres over the years, from the fearsome Janissary bands that made music a military strategy to the belly dance music of the Ottoman courts (which lives on today, thanks in part to Roma musicians who innovatively incorporated it into their own dance music traditions). We are actually of the opinion that Turkish roots-pop (by which we mean dub classicists Baba Zula, not some kind of Anatolian Blues Traveler) is going to be the next gypsy punk or Saharan blues in world music.

[Click the "Continue Reading..." link to listen to a playlist featuring the music discussed in this edition of SoundTreks.]

Curumin

SoundTreks: a regular feature on the music the other 97 percent of the globe is listening to.

Wow -- what a great week for world music. The globalized economy may be crawling into a McMansion-sized hole right now, but you've gotta admit, while globalization may suck for mortgage-backed securities, it's been damn good for music. It's like an all-you-can-eat international buffet this week, only the portions are small and all the food is cooked by those grumpy French slow-food guys who burn down fast food joints while wearing hats set at a jaunty angle. On the menu: indie-pop from Argentina's ardently odd songstress Juana Molina, Ethiopian dub reggae (yes, you read that right) from Dub Colossus, psychedelic '60s Amazonian surf-pop from Juaneco y Su Combo, and a Brazilian who's obsessed with Japan and duets with West Coast underground rappers. Viva cross-pollination!

[Click the "Continue Reading..." link to listen to a playlist featuring the music discussed in this edition of SoundTreks.]

Liukin for the Perfect Beat

by Stephanie Benson

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Can you do a Yurchenko two-and-a-half, an Onodi, a Tkatchev, a Gienger, a Pak salto, a Stalder shoot, a triple full -- wait, let’s make this easier -- can you do a cartwheel? We know you’ve been practicing your best “stick-it” moment since watching the one-two winning punch of gymnasts Nastia Liukin and Shawn Johnson in Beijing. But how about saving yourself a trip to the hospital and impress your friends with some Olympic trivia that has nothing to do with Michael Phelps, or um, Michael Phelps.

by Sarah Bardeen

Hip-hop has become a global phenomenon, but the popularity of U.S. superstars such as Nas and 50 Cent tends to drown out the flows of lesser-known artists from countries like Senegal and France. Nomadic Wax, a small New York-based label, is trying to rectify this, giving emcees from around the globe a platform to start making waves of their own, while giving the rest of us a chance to listen in.

by Angela Bruno

Suphala

Back in the day, long ago enough that my memory betrays me on the what-why-how, I stumbled upon tabla player, composer and producer Suphala. In this past lifetime, a younger, more by-the-books me-and-my-friends dared not ever go out on a school night -- which is when she would perform. So, we never went to see her. A few months ago, Suphala crept out from my subconscious, prompting a Google search that yielded exactly what I wanted. So X-years and X-months later, after a early-bird Indian dinner at the luminescent Panna II and undeterred by the two-drink minimum at Drom (WTH), I recruited the willing (and/or a tad bit coerced) to accompany me to watch the show -- "watch" being the operative word here. (After the jump, check out bizarro/brilliant footage of Suphala and Yoko Ono -- not in attendance last night ... bummer -- jamming out.)

by Piotr Orlov

Fania

Dance music's 21st century rhythmic globetrotting is simply a new-destination update of past travels. There is, for instance, the trip that New York’s Fania label took ‘70s dance-music on, the one that began with a variety of Afro-Cuban- and Caribbean-influenced styles (rumba, mambo and boogaloo, among many); and after mutating into salsa, injected Latin tinges into disco and much of what followed. As is the norm nowadays, anything that was once great is ripe for a remake, and so too is the Fania catalog, on I Like It Like That. But if you want a quick taste, here’s an unreleased remix by Ashley Beedle, adding some bottom to the smooth disco-salsa come-on of Ricardo Marrero’s “Feel Like Making Love.” It’s a late-night thing, once perfect only for the Bronx, but now accepted 'round the world.

Further Downloading:
Ricardo Marrero, "Feel Like Making Love (Ashley Beedle Remix)"
Rhapsody Free MP3s

by Philip Sherburne

Dance music, endlessly self-replicating, invariably breeds exhaustion. So, it's no wonder that recent years have seen American and European audiences looking to forms like Rio's funk carioca (aka baile funk) and Angola's kuduru for new rhythmic thrills. South African kwaito may be next on the list of "outsider" genres to conquer the hearts and minds of first-world clubbers (and, quite possibly, get colonized by global A&Rs). Exhibit A: Mujava's "Township Funk." The work of a 20-something artist from Pretoria's Attredgeville township, it sounds massive whatever the context: great slabs of Hoover bass, relentless martial snares, a wobbly melody recalling Benga and Coki's "Night." The tune will almost certainly find Mujava a larger audience than he has so far—via South African taxi drivers, community radio and of course YouTube.

Scooter Über Alles

by Chuck Eddy

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Three-goofball Hamburg trio Scooter have been huge in Germany for 14 years, and intermittently big in the U.K. (where they recently knocked Madonna off the top of the album chart) for part of that time. Their Wikipedia entry says they’ve sold 14 million records. I first heard their name in a Eurocheese roundup piece I edited five years ago for the Village Voice, wherein Barry Walters intriguingly compared them to ‘70s glam-rock heroes Slade, though for some reason that didn’t inspire me to investigate them further. Now that I’ve finally started to, I’m wondering what the heck took me so long.

Exclusive: Boris Q&A

by Jen Guyre

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Japanese experimentalists Boris have pushed noise rock and ambient drone into many different realms over their 16-year career, and with the addition of 2008’s Smile, they show how the possibilities are practically limitless. Floored by down-tuning master craftsmen The Melvins early on in their musical career, Boris, named after a song from Bullhead, set out to create music that defied standards in the name of originality. Vocalist/guitarist Takeshi, guitarist Wata and drummer Atsuo have garnered worldwide appreciation for their work and etched Boris' name in the experimental tablature with albums like Absolutego, Pink and numerous collaborations with Japanese musicians and drone-metal heroes. With the help of a translator, Atsuo tells us about Boris’ humble beginnings, philosophies and the delicate form of their impressive art.

by Sarah Bardeen

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Every style of music has its seminal labels: soul had Stax, jazz had Capitol, the blues had Chess. In the U.K., African music had Sterns Music. When Sterns went live on Rhapsody early in 2008, we decided to talk to world music producer -- and longtime Sterns consultant and friend -- Iain Scott to get a better handle on just why Sterns has been so significant to world music. We got that. .. and a lot more: ruminations on African independence, struggles within world music and stories about sassy African pop stars taking on bootleggers single-handedly. Fasten your seatbelt!

by Chuck Eddy

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So I caught 17-year-old New Orleans fiddle prodigy and redheaded potential pop star Amanda Shaw at B.B. King Blues Club in Manhattan last week, playing for a bar full of bridge-and-tunnel Bo Bice fans, more than a few of them wearing mullets, mostly middle-aged couples seated at tables. Weird for me -- the last concert I saw there, by Swedish gloom-metal band Katatonia, sure wasn't a sit-down show -- and weird for Amanda. She and her backing trio the Cute Guys (all of whom clearly have a few decades on her, much of those years spent playing all the rootswise-and-otherwise genres they're now incorporating into her music) are used to people dancing -- doing cajun two-steps, Amanda and her longtime drummer Mike Barras told me backstage after their set, even when they cover the Clash.

By Rachel Devitt

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He's got the whole world in his hands.

Sure, you love Kelly, Clay and Jordin. And Randy, Simon and Paula? They're like old, kind of annoying, possibly crazy friends by now. But what about Rini, Thaeme and Timi? The winners of Indonesian IdolIdolos Brasil and Idols West Africa might not be household names in the U.S., but they're well on their way to becoming big stars in their home regions, thanks to the many Idol spin-offs that have cropped up around the world since the franchise launched in the U.K. in 2001. We review the best, the brightest and the most YouTube-worthy moments of Idol's international incarnations.

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Africaindiethumbnail_3 While our ongoing discussion has been focused on Western, primarily Caucasian musicians experimenting with African influences, it’s interesting to note a band in the unique position of Extra Golden. The melding of two distinct musical groups (Extra and Golden, natch), Extra Golden is half American and half Kenyan. Their latest album, Hera Ma Nano, is a sincere celebration of its band members' combined heritages (and also contains a dedication to Barack Obama, who helped Extra Golden's Kenyan contingent with visa difficulties.)

PLAY asked guitarist Alex Minoff to reflect on indie-rock's ongoing fascination with music from the continent. He let us know what authenticity's all about, and then unleashed a sobering proposition -- maybe the problem is that music journalists just don't know what they're talking about when it comes to Africa.

Rafter

Africaindiethumbnail_2 Rafter’s latest album, Sex Death Cassette, is a piece of expertly crafted post-modern pop. While not as invested in African tones as some of the other indie bands we’ve previously looked at, his own tastes—namely for the pioneering Fela Kuti—are evident. Check out opener “zzzpenchant,” which throws resoundingly Afrobeat horns on top of a gently chugging melody line, or “adventurers,” which marries lo-fi production to bold, brassy trumpets.

PLAY asked Rafter to discuss his current African and world-music obsessions. He told us about pop music’s voracious eating habits, and why Vampire Weekend might be a bit too “safe.”

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