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fRoots magazine is the essential resource for folk, roots and world music – local music from out there. We’ve always been central to the UK folk scene and were the pioneering, original world music magazine from year zero. We constantly support new young artists while cel- ebrating the established: joining up the dots.


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VARIOUS ARTISTS Nostalgique Kongo BUDA 860339


Why did Congolese music achieve such prominence right across Africa in the sec- ond half of the 20th century? Its size (we’re talking the lands on both sides of the Congo River here), central position within the continent and pioneering recording


studios all played their part. But most of all, it was simply down to the quality and range of music the region produced. Influenced by (as well as exerting an influence upon) sounds from Cuba, the Caribbean as a whole and all of Africa, the result was varied yet distinctive in its combination of drive and lilting grace.


Subtitled ‘Rumbas, Lingala, Swahili, Kikingo and Douala 1950 – 1960’ this 22-track compilation offers a snapshot into the roots of that golden age. This is predominantly string band music, with a frequently strong Cuban influence. You can hear it grow in sophistication from the opening simplicity of Isaya Mwinamo and Tom Miti to more heavily syncopated and (comparatively) sophisticated material.


Amongst the highlights are tracks fea- turing a giant of Central African music, Wendo Kolosoy (including two from the excellent Trio Bow) and one from accordeon- ist Camille Feruzi. It’s an attractive package too: a digipack with photos and informative notes in English and French.


Congo may no longer be the hub of musical riches it used to be, but once upon a time it was very much where it was at. And this collection makes for a fine way to discov- er how it all began.


budamusique,com Jamie Renton


THE UNTHANKS Lines Rabble Rouser RRMO18


It’s true the Unthanks aren’t everyone’s favourite mug of strawberry filling, but nobody could knock the scale of their ideas and their unerring willingness to veer from the normal well-trodden routine path of bands/albums/tours and simply explore. Their critics may suggest an element of vanity is tied into the mind-boggling range of their side projects – and they do perpetually run the risk of over-reaching themselves and get- ting egg on their faces in some of their more grandiose undertakings – but they tend to hit more than they miss.


Some of their ideas work… others, not so much… but daring to be different is surely a laudable quality and through it all their core has always remained the strikingly con- trasting vocals of the sisters Rachel and Becky Unthank. That remains true of this further diversion – a three-CD pack formed of differ- ent themes. The first part is titled Lillian Biloc- ca, written for a Maxine Peake theatre piece – performed as part of Hull City of Culture’s events in 2017 – about a female activist vili- fied by the fishing industry for ‘meddling’ in men’s affairs after leading a campaign for more safety laws at sea following a trawler disaster in 1968 in which 58 men died. The music is dark, it’s wistful, it’s atmospheric and in the context of the play you imagine it must have been stunning.


The second CD is devoted to original music and poetry inspired by the Great War turned into song by Adrian McNally. There’s been no shortage of First World War material in the last few years, of course, but – original- ly commissioned by Sound UK Arts for a pro- ject called A Time & A Place – this takes a dif- ferent tack to all the others, reflecting stories


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