2020/2021. More than 18 months without being able to make a gig. This space of time, this imposed "pause", was used to prepare a new album, a group album, as we had not realized for a long time. Following the creation of a new line-up in 2020, we once again offered musicians to bring songs, Christian Vander never having made the deliberate choice to be Magma's sole composer. But in fact, none of the dozens of musicians who participated in this adventure had offered a new song for decades! After "ZËSS", which hinted at a rather gloomy future, this bright and resolutely optimistic new album is the result of a collective work, an "Operation Kartëhl".

The Gipsy Kings' main strength is their consistency. Throughout their career, they have managed to craft an accessible, pop-oriented version of flamenco and gypsy music that also pushes boundaries. During it all, they recorded classy, satisfying albums like Compas. There's not much different about Compas, but since the album is so well made and enchanting, that isn't a curse; it's a blessing.

Scarcely three decades old, the enduring appeal of novelist Stephen King's horror oeuvre has already begun to foster remakes of the films and TV productions already based on his most popular works. This cable TV redux of King's 1975 tale of a small hamlet beset by vampires features an ominous, brooding orchestral and choral score that's a winning collaboration between newcomer Christopher Gordon and former Dead Can Dance mainstay cum film scorer Lisa Gerrard. The gothic seasoning she imparted to her previous collaborations with Hans Zimmer (most notably Gladiator) comes to the forefront on this score's haunting title aria (composed by Gerrard and partner Patrick Cassidy) and tracks like "Bloody Pirates" and "Free in Spirit." But it's the music of newcomer Gordon (Master and Commander) whose sheer scale and ambition belie the small screen format it was written for at nearly every turn.

Ali Farka Touré trekked the world, bringing his beloved Malian music to the masses. Dubbed “the African John Lee Hooker,” one could hear strong connections between the two; both employed a bluesy style of play with gritty textures that elicit calm and fury in equal measure. While the influence of Black blues music prevailed, Touré created a West African blend of 'desert blues' that garnered Grammy awards and widespread reverence.

Crazed jazzy and avant-proggy Belgian ensemble Humble Grumble seem "Zappa-esque" in their meld of anything-goes music and sometimes outrageous, sometimes incongruously dark lyrics, but the roots of the band are on the somewhat folkier side. Hungarian singer/guitarist Gabor "Humble" Vörös wandered around Europe before settling in the Ghent, Belgium area in 1993. He participated in a number of musical projects, including a somewhat oddball folk-rock outfit named Dearest Companion, also featuring multi-instrumentalist Tom Theuns. Vörös (on guitar and vocals) and Theuns (on bass) formed Humble Grumble in 1996, and a quintet version of the group toured Switzerland and Germany and recorded a pair of demos that year, The Golden Pile and The Tom and Gabor Special.

It’s a voice that soars – pure, clear and true — above bass and synths, traditional percussion and infectious Mande guitar grooves. A stop-you-in-your-tracks voice instantly familiar to anyone in Mali, West Africa: Rokia Koné, aka the Rose of Bamako.

Named for the traditional Navajo song "Shi Ni Sha," I Am Walking collects the best of contemporary Native American music, blending the airy beauty of flutists Andrew Vasquez, Joseph Fire Crow, Gary Stroutsos, and R. Carlos Nakai with notable singers Joanne Shenandoah and the Coolidge family of Walela. The result is rich with the spiritual beauty of ancient Navajo, Hopi, Oneida, and other Native cultures. Too many bright spots dominate this collection to list them all, but among the most special goodies are Walela's "Wash Your Spirit Clean"–floating with angelic voices, sparkling guitar, and crisp percussion and drums–and "Oweegon" from Jim Wilson's Little Wolf Band, which sends Priscilla Coolidge's vocals and Native chant flowing over spicy electronic rhythms like cold water through river rocks. A majestic collection for kind hearts.

After the success of Gladiator, it wasn't unusual to see director Ridley Scott turn to Hans Zimmer again for the score to Black Hawk Down, his fierce adaptation of Mark Bowden's account of the tragic 1993 American military intervention in Somalia. What was more surprising was the schedule Scott imposed on the German-born composer: 15 days to write, arrange, and record the film's nearly two hours of music. The results of Zimmer's miraculous two-week musical campaign not only belie those constraints; they instantly take their place alongside The Thin Red Line as some of the most compelling music he's produced. The gambit here is simple–portray the combatants as two warring tribes, with their native musics locked in a tense dance for domination.

A varied soundtrack album that manages to weave in a little variation from the traditional type of motion picture scoring indulged in here by Sakamoto. Part of the reason for the variation is that only twelve of the album's 21 tracks are by Sakamoto – several are source music, others were composed by Richard Horowitz. The diversity thus makes for a more interesting album than might have been had from variations on the main minor-key "Sheltering Sky" theme (presented here in orchestrated and piano-based versions.) It also breaks away from the sound of Sakamoto's recordings, strong material that suffers from a certain digital harshness in the strings. Horowitz' part in this is in stepping away from traditional Western scoring and using Middle Eastern elements for score structures – something that's very effective indeed on "Fever Ride" with its blend of Moroccan and Spanish elements. Where Sakamoto easily sketches panorama with his music, Horowitz sketches in mystery. The local source music, too, adds to this, giving the album a grounding in the real world that completes the overall structure. An excellent album that can easily be recommended for more than just soundtrack aficionados.

You can trace the seeds of Fongola back to so many different places. It began in Kinshasa, in the Ngwaka neighbourhood where DIY experimental musical instruments are made, and the Lingwala neighbourhood where Makara Bianko sings every night on electronic loops with his dancers and where the band first met. We spent our tours across Europe dreaming about what we wanted to tell the world. It was recorded in makeshift studios we built out of ping pong tables and mattresses in Kinshasa and Brussels. Finally, I spent months putting it all together in Abattoir, Anderlecht like a giant electronic puzzle with pieces that don’t fit and no blueprint.” - Débruit

Whilst the continents contribution to the global funk, boogie and disco canon has been well documented for decades, the strong presence of rock and psychedelia in 1970's African music has been a more slowly evolving story over the years.

Vocalist Asha Puthli was well-known in her native India before she moved to New York and made a splash in the jazz world. For her Western recording debut, Puthli lent her vocals to "What Reason Could I Give" and "All My Life," a pair of ballads on Ornette Coleman's 1971 Science Fiction LP. She recorded two LPs for Columbia, 1974's Asha Puthli and 1978's The Devil Is Loose, but success in America eluded her, even as she matured into a European chart mainstay. Puthli's popularity grew not in the U.S. but in Europe where she signed a record deal with CBS. Her solo albums reflected her interest in pop, rock, soul, funk and disco. She gravitated toward the glam world of Elton John and T. Rex. Music critic Ann Powers in The New York Times called Puthli a "fusion pioneer". Music critic Robert Palmer called her singing "extraordinary". Her third solo album, The Devil is Loose, was called an instant classic by The New York Times. Thom Jurek of AllMusic called it " a masterpiece of snakey, spaced-out soul and pre-mainstream disco."