Madalitso Band
Musakayike

Some scruffs but plays well !

Y Bülbül is back on the controls accompanied by Yumurta, a percussionist from Istanbul. Pingipung introduced the London based artist in 2020 with his psychedelic, synth-laden debut "Fever".“Not One, Not Two" is based on a one-way transmission of improvised drum recordings from an industrial estate in Maslak, Istanbul to another one in Tottenham, London, where Y Bülbül laid down fragmented layers of bass, synths, guitars and field recordings over Yumurta’s singular drum takes. The result is a free-form deep listening album for fans of dub, ambient and kosmische music, where the groove and harmonies are mystically interwoven, yet somehow manage to stay on the brink of collapse. Although the sessions were nonconcurrent and scattered over two continents, the collaboration evokes scenes of a telepathic communion where individual perspectives, circumstances and stories are exchanged between the two.Resembling Moondog, Holy Tongue or Luis Paniagua in the sense that they favour the raw over the polished, holistic presence over conceptual perfection and questions over answers, the duo’s focus on bare sounds and repetition guides the listener throughout the album. The ride cymbal opening the minimalistic “I’m This”, for instance, briskly disarms the listener who might have been looking for more traditional songwriting or production clues. There are plenty of immediately rewarding moments too in “Not One, Not Two” despite its restrained nature, like the organic acid bassline in the second half of “Maurin Quina”, the euphoric drum fills of “Big K” and the intoxicating groove of the hypnotic vibe-setter “Jah Oto”.Bülbül is Turkish for a singing bird while Yumurta simply means egg. Which one is first? Who is to follow? It’s this enigmatic entanglement between the two artists which creates the lurking tension, emphasised by the Zen Kōan-like title. The beauty in this album is a peculiar one, and it certainly is a rabbit hole too. Dissonance is fluid as everything moves, and whenever two sounds collide, a third one emerges.

Perfeitamente, Justamente Quando Cheguei is one of those cult Latin albums from the Brazilian fusion heyday of the 70s as it mixes up psych-folk and MPB in unique ways. The artwork alone is worth the cover price if you ask us but the music also stands up from Rubinho E Mauro Assumpcao, who released just this one album which has since become incredibly hard to find, even in the country itself. Swaggering samba rhythms, funky rhythms and carefree vocals (about what we have no idea) all make it a richly rewarding listening experience.

After his international debut #1 in 2018, the north Ghanaian Kologo (a two stringed proto-banjo) master Guy One is back with his brand new band, consisting of Kumasi's finest young talents, plus Florence Adooni and Tenni Akagam as his choir voices.So La Ma La has a straight forward Highlife rhythm which melts together with some funky articulated afrobeat-a-like bass line. To Kale Na'nabala is instead in the traditional Kete rhythm, a bounce poly-rhythm in 12/8. But both songs are mostly defined through Guy One's Kologo lines and his soulful interpretation of the typical north-ghanaian vocal style.