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Going Global: Six Of The Best World Music Albums For 2022

Here are some of the best sounds from all corners of the Earth

By Alexander BelseyPublished 2 years ago 5 min read
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Mdou Moctar - Afrique Victime

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Partly traditional, partly electric punk, Mdou Moctar’s music is full of life and perfectly encapsulates a sense of cultural pride against the backdrop of centuries of oppression.

The sense of joy carried in the descriptions of the African continent and the people who live there carries a darker undercurrent; a harshness carried on the strings of the electric guitar. You can feel the sun’s rays through the music; from the searing burn of the chords in Afrique Victime and Asdikte Akal, to the gentle, warming glow of Tala Tannam and Bismilahi Atagah and the foot-stomping rhythms and subtle melancholy undertones of Ya Habibti.

Mdou Moctar paints the picture of violence and love through wide-open eyes, and in a voice that perfectly captures the essence of the rawness of being human. Afrique Victime is a sun-filled joy of an album that brings a touch of rare rawness to the global music scene.

Guy Buttery, Modh. Amjad Khan and Mudassir Khan - One Morning In Gurgaon

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If Mdou Moctar’s music is fire, then Buttery, Khan, and Khan’s music is water.

There is an incredible subtlety to the flow of the sarangi; the waves of microtones rising and falling, then grounded by the patter of the tabla drums like the splash of water on rocks. Buttery’s acoustic guitar, precisely and finely picked, is the centre of the piece, melting the earth with the water, as the shoreline extends from cliffs to the sea.

This album should be listened to in its entirety: the storytelling, although nonverbal, is palpable throughout, and to disrupt the stream, would be to ‘dam it’.

This is an album to listen to on a rainy day, when everything is quiet, except for the music.

Satomimagae - Hanazono

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Satomimagae’s album Hanazono translates to ‘flower garden’, and that title perfectly depicts the delicacy and poignance of her music. Misty and mysterious, Hanazono is an expert blend of beauty and melancholy, the light plucking of the harp underpinned by rough, grunge guitar.

Her voice is breathy, and she switches seamlessly from Japanese to English, using her lyrics like paint. She forms an overall impression with the shape and feel of her words, building layer on layer of sound to create an album that creates a sense of minimalism while capturing the complexities of sound.

Satomimagae’s skilful use of Japanese folk techniques, combined with the rawness of modern grunge, creates a haunting and almost spiritual experience for the listener, touching on feelings of bittersweet nostalgia.

Henna: Young Female Voices From Palestine

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Henna: Young Female Voices From Palestine came in at top place at the Transglobal World Music Chart in August 2021, and was created to support young Palestinian women to get into a career in music. This album is an evocative glimpse into life in Palestinian life, and the diversity of the musical styles is captivating; two flowers is a delicate, and precise dance of a song, the perfect picking and strumming of the strings playing in skilful harmony with the tinny sound of the tambourine.

There is the same artistry in Gaza, but there is a playful joyfulness underpinning the twists and turns of the key changes. The melody of this song is full of life; it swings from joy, to sinister undertones, then finishes in a tone that is pure and blissful.

The music takes you on a journey, and you are never sure quite where you are going to end up, but you are left with a sense of having been on an adventure; a wild and satisfying ride.

Vedan Kolod - Gorodische

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A revival of medieval and ancient Russian folk music, Gorodische is full of the unusual and unexpected. Instruments that you might not expect to hear in Russian folk - such as bagpipes and the hurdy-gurdy - sit comfortably alongside more traditional Russian instruments such as the gusli and the zhaleyka.

You can feel the age of the music as you listen. The female voices have a raw, guttural sound to them, and its simplicity is complemented by the multidimensional, unfiltered essence of each instrument.

You can feel the authenticity and spirit of these sounds. From the slap of fingers on guitar wood, to the tremors in the singers' voices, you can feel the heart of these songs beating with the beat of the drum.

Toumani Diabaté and The London Symphony Orchestra - Kôrôlén

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Kora player Toumani Diabaté is accompanied by the London Symphony orchestra in this comforting showcase of Mandean music.

After many years of Euro-centrism in classical music, and problems with political and racial oppression, it appears that African classical music is eventually becoming recognised for its beauty, ingenuity and originality.

Toumani pointed out that ‘Our (African) music is older than Bach’, and in an age where everything revolves around the new, it is refreshing to see such pride in ancient traditions and richness of history and culture that spans the ages.

This is a groundbreaking time, and an opportunity for classical music to flourish and diversify in areas where it had long been stale. This is, unbelievably, the first time that a kora has been used as a solo instrument in a symphony orchestra, and the results are beautiful.

The kora has an incredibly mellow, melodic tone to it, softer than an acoustic guitar, and with a soft timbre that sits perfectly alongside the flutes and violins of the orchestra. The music is intricate, complex, and full of mysteriousness.

It always leaves the listener wanting a little more, while giving just enough to entice. Diabaté’s light touch and artistry makes the concert what it is: a step beyond the traditional, and into the future of music.

Albums reviewed by Holly Jackson for Superlocrian

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About the Creator

Alexander Belsey

B2B magazine editor and digital marketer. I write about business, politics, economics, and wellbeing - sometimes all at once.

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