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Third in the African Pearls series charts the two decades following Malian independence. Besides the rail bands and orchestras, refreshingly strong on ‘folklore’.

Rocking takamba from northern Mali — hypnotic electrified traditional guitar accompanied by earworm calabash rhythms. With a bonus seven of acoustic performances. A Mississippi-Sahel co-presentation.

The heavy sound-clash electro carrying the swing. Snippets of balafon and djembe over vibed-up kuduro and coupe decale rhythms. From originators to bedroom innovators — ten years of hits.

Fabulous, tough ngoni (with a wah-wah pedal), and songs railing against radical Islamic law in the North, and last year’s coup, and calling for tolerance in true Malian tradition. ‘Magnificent’, said The Guardian.

A tape collage from the south of Mali, and the capital Bamako, in Sublime Frequencies fashion.

Ngoni blues, street clamour with radios and soundsystems on the move, the stunning voice of Jalimusa Amanita Diabate, Fulani flutes, Dogon chants and Mande songs.

Beautiful, hypnotic, long-drawn-out praise singing in the ancient Malian jeli tradition, with ngoni accompaniment.

Shot between 2007 and 2012, Hisham Mayet’s film is an exhilarating, hallucinatory, harrowing record of music, ritual, life, and landscape along the Niger River, as it winds through Mali and the Republic of Niger.

Hard-grooving Malian blues-rock stripped to its bad self.

Underground garage rock from Mali — smoking, lo-fi, punky, crunchy riff-outs — side by side with beautiful acoustic performances, full of soul and rapture. Co-presented with Sahel Sounds.

Three scorchers recorded at Toumast — the Tuareg headquarters in Bamako — and a fourth in Ouagadougou, after the group flew Mali for Burkina Faso.

Stirring stuff from the back pages of this sublime, deep-roots singer from the city of Kita, in the heart of Mande country, in Mali — backed with ngonis, kora, balafon, djembe and chorus.

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