Listen to the World Music Network Audio Chart on Spotify! 

  1. 1. Michael Messer's Mitra - Call Of The Blues

    'Michael Messer's Mitra is a trio comprising British blues innovator and slide guitarist, Michael Messer, Hindustani slide guitar maestro from Mumbai India, Manish Pingle , and London-based tabla player, Gurdain Singh Rayatt. 
    This is more than another meeting of musicians from different cultures, this is a band with its own unique sound, an exhilarating and highly accessible fusion of blues and Hindustani classical music. With vocals, slide guitars and tabla, these three musicians from opposite sides of the globe create a fascinating musical journey, running from the banks of the Mississippi, via London, to Mumbai and the Ganges Delta.'

  2. 2. Various Artists - Aloha Got Soul: Soul, AOR & Disco in Hawai‘i 1979-1985

    Compiled by Roger Bong, the aptly-titled Aloha Got Soul comprises 16 tracks of inspired funk, disc`o, jazz and AOR recorded in Hawai‘i. The release is the first definitive compilation representing a vibrant and varied era of recordings, and we’re hoping it shines a whole new light on the Hawaiian Islands’ not-so-distant music culture of the 1970s and 1980s.

  3. 3. Various Artists - The Rough Guide To The Best World Music You’ve Never Heard

    This seamless collection of some of the finest unheard musical treasures from around the world was gathered from World Music Network’s ‘Battle Of The Bands’ competition. From the souped-up guitar of Mali’s Anansy Cissé to modern Yiddish melodies with a modern twist by Mostly Kosher, this album represents artists at the very cutting edge of world music.

  4. 4. The Gloaming - 2

    'Two years on from their debut, this five-piece Irish-American supergroup have become a phenomenon, packing out concert halls around the world with their blend of traditional influences and subtle experimentation. Their second album explains the attraction. The starting point may be Irish song and poetry, but the fiddles of Martin Hayes and Caoimhin Ó Raghallaigh are matched against the thoughtful, non-folky piano work of New York’s Thomas Bartlett, who quietly dominates much of the set and provides delicate backing for the powerful vocals of Iarla Ó Lionáird.

    This is a band who specialise in subtlety and surprise rather than foot-stomping playing, as they show with the gloriously emotional song of parting Slán le Máighe, their mesmeric treatment of The Pilgrim’s Song and the instrumental The Rolling Wave, in which drifting piano work is intercut with fiddle dance tunes. An exquisite album from a virtuoso band.' - Robin Denselow, The Guardian

  5. 5. Vesevo - Vesevo

    'There’s already a rousing folk scene in southern Italy, thanks to bands such as the remarkable Canzoniere Grecanico Salentino, and it’s strengthened by this impressive new trio from Naples, featuring the exuberant violin work of Antonio Fraioli. He’s best known for his work with Spaccanapoli, whose song Vesuvio was used in The Sopranos. In Vesevo, he is joined by the sturdy singer and guitarist Antonio Di Ponte and frame drum specialist Francesco Manna. Their starting point may be the traditional music of the region, but the ballads and dances are transformed by the percussion and instrumentation. So the opening track, ‘O Rre Rre, starts with cool sturdy vocals and develops into a stomping dance track, while elsewhere the band slow down for the elegant Riturnella, with voice and violin backed by a distant rumble of electronic effects, and Fraioli demonstrates his intricate, rapid-fire violin work on Tarantamara. A powerful debut.' - Robin Denselow, The Guardian

  6. 6. Aziza Brahim - Abbar El Hamada

    'The Sahrawi refugee camps in Algeria are a bleak reminder of the plight of those displaced from what they have called “occupied western Sahara” since the Moroccan invasion in 1975. Aziza Brahim was born in the camps before moving on to Cuba and Spain, and her 2013 album Soutak, a deserved bestseller in Europe, matched powerful songs of Sahrawi defiance with laments for the refugees. She returns to the same issues here, but sounds unexpectedly laid-back. The opening Buscando la Paz may declare that “the hope for peace is fading”, but it’s a drifting, pleasantly languid song that sets the tone for much of the album. The best tracks are at the end, with the bluesy Mani, featuring the Malian guitar hero Samba Touré, followed by Los Muros, a meditation on the wall built around her homeland.' - Robin Denselow, The Guardian

  7. 7. Breabach - Astar

    'Over the last five years we have had the great privilege of touring across the globe, each journey shaping our music and strengthening our identity. These experiences have offered us the opportunity to make many friends, perform at iconic venues and festivals and be part of exciting collaborations. Astar (tr. journey/distance) is a multicultural celebration, embracing the music of four nations in partnership with our own. We have invited friends from Norway, Quebec, Australia and New Zealand to be part of this recording, which has been brought to life under the guidance and production of Greg Lawson.' - Breabach

  8. 8. Tęgie Chłopy - Dansing

    'Tęgie Chłopy (approximate pronunciation: ‘tengy hwope’; one literal translation is ‘stout fellows’, but chłopy also has another meaning, see below) are a group of ten musicians, some of them members of Janusz Prusinowski Kompania, Lautari and the East Warsaw Ensemble, who have been involved in organising the Kielce Tabor House of Dance, annual workshops to learn the old dances and their music from the old masters, in Sędek.

    The music of the Kielce region in south central Poland, once strong, has dwindled; the band, learning from and collaborating with the old players and singers, aim to play for dancing with the roof-raising power and energy of the old bands of the post-WWII period, such as that of the Witkowski brothers. Those bands are gone now, but the Witkowskis’ alto-saxist and driving force Stanisław Witkowski, who tells his story in Muzyka Odnaleziona’s customary desirable hard-back booklet pack, plays in Tęgie Chłopy and is a major source of its material – mazurkas (known in this region as chłopy), waltzes, foxtrots, tangos and polkas.

    The prominence of trumpet and clarinet (Szczepan Pospieszalski and Michał Żak, both of the Prusinowski band) and Witkowski’s sax, and the squashy bass pump of tuba with the fiddles, accordeon and baraban bass drum, give Tęgie Chłopy quite a klezmer sound, particularly in the polkas, and remind of the role of Jewish bands in the history of Polish village musical culture. There’s spirited singing too, from tuba-player Maniucha Bikont and Ewa Grochowska, one of the band’s four fiddlers, and guest Władysław Bąk speak-sings an old-time Polish tango and Stanisław sings on another.

    The band’s aim is mightily achieved and exceeded; it’s a big, joyful, swirling, danceimpelling sound that would have made them the hottest band in south central Poland back in the 1950s, and throws a new sound and impetus into today’s mazurka boom.' - Andrew Cronshaw, fRoots

  9. 9. Songs Of Separation - Songs Of Separation

    Recorded in the fairy-tale setting of the Isle of Eigg (in the Scottish Inner Hebrides) and set in the context of a post-referendum world, ‘Songs of Separation’ is not simply a beautiful collection of traditional and self-penned songs, but also aims to prompt new thinking about the issue of separation as it occurs in all our lives. The process of developing the music was documented and shared with audiences each day, through a range of videos.

  10. 10. Tantz - Voytek (The Bear)

    'A Tantz gig was not just a gig, it was a party. As they ventured further afield and word spread about them, the band's sound evolved over the years into this roaring blend of the traditional and the new that has seen them working non-stop at all kinds of events. World music festivals like WOMAD, rock/electronic gatherings like Bestival and Kendall Calling, clubnights like Balkanarama and Soul Rebels. They even played at the Brit Awards After Party 2014. The great thing is they rock every gig like it's their last one. Bottle of rum onstage, "1-2-3-4, let's go" count and they're off. Then it's a 90 minute ride of pure musical maelstrom that encompasses thumping bass lines, frenetic violin fiddling, in-yer-face drums and percussion, ska-punk chopped guitar and stratospheric soaring clarinet solos played so fast Charlie Parker would be proud of them.'  - DJ Lubi