Real World 黑胶唱片和CD

Review: This is a reissue of the 1996 album by the British Asian singer Sheila Chandra, who commands wide renown among diggers for her fusion of Indian classical, folk and pop music. Abonecronedrone is a minimalist exploration of the drone, the continuous sound that underlies Indian music. Six tracks, each named after the drone sound they feature, 'Abonecronedrone 1' to 'Abonecronedrone 6', resound across its resonant body, recalling the almost mathematic way Indian ragas have historically tended to be categorised. Chandra's layered vocals glide across the top, drawing particular attention to some rather prominent harmonics, overtones and textures.

Review: Sheila Chandra's Zen Kiss, first released in 1994, was among the best examples of the British singer's many forays into contemporary international music. The twist is that most of the album is a simple yet striking a cappella, which plays out from start to finish, and is rarely accompanied by anything so much as a faint yet enchanting drone. With Chandra's interpreting songs from various cultures and traditions - including those of Indian, Spanish, Celtic, and medieval origin - she displays a remarkable vocal range in both pitch and stylistic breadth, ranging from the rhythmic to the ethereal and improvised.

Review: The all-female African supergroup Les Amazones d'Afrique, who've included some of the biggest stars in African music, here make a triumphant return, channelling a fresh sound on their third album Musow Danse. Forming in Bamako, Mali, in 2014 between three renowned Malian musicians and activists - Mamani Keita, Oumou Sangare and Mariam Doumbia - Les Amazones d'Afrique has since expanded to involve many female artists from across Africa and the diaspora. Combining a just cause - campaigning for gender equality and eradicating ancestral violence - with a slick, enticingly trap-influenced sound; we've got a potent cocktail on our hands. Richly melodic and far-ranging, Musow Danse blends pan-African styles and collaborative harmonies with gritty, contemporary pop, riffing off the idiosyncratic Congotronics producer Doctor L, and embracing a powerful pop sound led by 808s and glitchy synths.

Review: The Zawose Queens' debut album Maisha is a captivating blend of traditional Gogo music from Tanzania with modern electronic elements, showcasing the rich cultural heritage of the Zawose family while pushing boundaries. Produced by Oli Barton-Wood and Tom Excell, the album features 11 original tracks that seamlessly fuse ancestral rhythms with contemporary production techniques. Drawing on their deep roots in Gogo music, Leah and Pendo Zawose deliver powerful vocals and masterful instrumentation, accompanied by the percussive rhythms of the muheme drums and the resonant sounds of the illimba thumb piano. Songs like 'Lule Lule' and 'Kusekala Kwa Nyungu' capture the essence of go go tradition, while tracks like 'Fahari Yetu' and 'Sauti Ya Mama' celebrate themes of heritage and maternal love. Maisha is not just an album; it's a statement of empowerment for women artists in East Africa and beyond. The Zawose Queens have boldly stepped into the spotlight, reclaiming their place in the musical landscape and inspiring others to follow suit.