Natalia Lafourcade and Los Macorinos explore the wide world of Latin American folk music with a generous tracklist of quality originals and creative revisions on Musas Vol. 2.
Dutch production duo Tunnelvisions come through with sprawling, psychedelic, and vaguely exotic breed of house music that I'm digging a lot. Looking forward to whatever else they're slated to drop later in the year.
Colombian supergroup Ondatrópica continues to fuse genres from across South America on their sophomore album.
We're thrilled to premiere this video from cumbia supergroup Ondatrópica performing "Descarga Trópica," a choice cut from its fantastic first album. The band is currently trying to fund a second volume of music and we strongly encourage you to consider donating to its Indiegogo campaign - lots of money needed in under a week in order to meet the goal! The world needs another tremendous collection of Latin tunes from these folks!
Chimurenga Renaissance is the side-project of Shabazz Palaces' Tendai Maraire. While world music certainly informs the music of Shabazz Palaces, it has an even heavier vibe in Maraire's solo work.
Above, check out the lead single from Chimurenga Renaissance's forthcoming debut LP riZe vadZimu riZe, "The B.A.D Is So Good." In it, Maraire speaks of the "black American dream" over an instrumental that continues the influence of reggae, jazz, and African mbira music found on his 2012 mixtape Pungwe, which you should definitely stream below if you're into this new track. Happy listening!
riZe vadZimu riZe is due out March 25 via Blacklane.
Tune-Yards' sophomore LP, for some, will be a true exercise in patience. Merrill Garbus' vocals can be a serious strain on the ears, and the amount of instrumentation she's packed into this album borders on migraine-inducing. But all of this album's quirks can easily become strengths on the right set of ears. My favoritism varies from track to track, but this is an unmistakeably bold album. I'm not trying to say this thing forges new ground or reinvents certain sounds or styles. Not the case. In fact, this album pulls a little bit too much from African music and the Dirty Projectors to be a piece of originality.
This album's bold attitude comes from the fact it just doesn't care what you think. W H O K I L L wanders through a jungle of its own creation, and follows its nose to bowl after bowl of Froot Loops drowning in gallons of purple Kool-Aid.
Some tracks feature more eccentricities than music, but that's what makes this thing such a marker. Love it or hate it, you'll at least remember it.