La BOA, Máquina – Colombian band that topped the average for Latin Afrobeat knockoffs, but on this third album they get smoother, slicker and fusion-y. Which I’m hoping your realize isn’t a good thing. Professionalism is its own punishment. Listen here. Grade: C
Canalón de Timbiquí, De Mar y Río – Prolific singer Nidia Góngora’s traditionalist project never strays from its roots commitments, and its preservation of Colombia’s Pacific folk traditions never gets trapped in the museum, thanks in large part to her voice, which has this nice hoarse edge that adds an Authentic™ tinge that really works. But how much marimba you need in your life if a very personal decision, and although this isn’t far off in quality from Rio Mira’s excellent Marimba del Pacifico, I think the amount of that instrument I need isn’t much. Listen here. Grade: B+
Nicola Cruz, Siku – On paper, folktronica seems a nice match: pitting electric sounds against acoustic ones, urban against rural, is a longstanding trick ever since folk musics plugged in. But too often the results annoy. Pretty sounds over gentle beats that are supposed to bliss you out out turn to sonic new age wallpaper instead. Cruz realizes the Devil’s in the details and the beats. So his sonic canvas is jammed with sounds to keep you from drifting off, and his beats are tough enough to prick your ears should they try to snooze. Of course, the voices—often, crystal clear sopranos—keep it nicer and neater than it had to. It’s still folktronica, after all, so it’s gotta be a little tasteful. Listen and buy here. Grade: B+
Sara Hebe, Politicalpari – Fourth album by the Argentinian rapper. You don’t need to understand Spanish to see she’s politically engaged. In “Fck the Pwr” she wants it so she can use it against the people who abuse it while sampling The Snap!’s classic. In “A.C.A.B.” she notes no one commits suicide under policy custody. But she also never forgets the personal dimension, how powerlessness and marginalization drive people to despair. Musically, she’s all over the place—reggaeton here, rock there, reggae next—and it’s both impressive and frustrating as the whole never coheres so that it’s less than its admirable parts. Listen here. Grade: B
iLe, Almadura – The third wheel from Calle 13—Illeana Cabra Joglar is the younger half-sister of stepbrothers Residente (René Pérez Joglar) and Visitante (Eduardo José Cabra Martinz) who were the creative force of the band—on her second solo album. This time her traditionalism feels less calculated and, in the wake of hurricane devastation and political incompetence (or just straight corruption), it comes across as an act patriotism as she celebrates her battered island. The Eddie Palmieri solo stops everything in its tracks, but then he knocks out one of the classic salsa grooves that will have your feet tapping or hips shaking in no time. Elsewhere iLe’s got her Latin groove down: funky and angular, rolling and jumpy, hot and cool. Listen here. Grade: A-
Liniker e os Caramelows, Goela Abaixo – On this notably stronger second album, the São Paulo band’s grasp of R&B sounds much less received. The distracting camp touches of the debut are exorcised. Liniker more fully inhabits her female persona developing a singing style that sometimes recalls the masculine femininity of Shirley Bassey. The band adds Brazilian and Caribbean touches to their sound that ground the nods to American music so that it sounds less forced. They still struggle with the ballads, so the album falls off pretty badly when they slow down on the second half, but there’s enough here to think they might actually have an excellent album in them after all. Listen here. Grade: B
Luisa e os Alquimistas, Jaguatirica Print – Robbing beats from parties worldwide to concoct their own all night jam, Luisa Nascim and her band strike silver on their third effort. They center their sound on their northeastern roots, but they reach out to Latin America, Africa, the Caribbean and the States to find the sounds and rhythms to spice things up. Topping their first two albums, the sounds are richer, the playing stronger and the arrangements more thought through, which means this time out they’re more than just pleasant. Listen and buy here. Grade: B
MC Tha, Rito de Passé – Although she’s been releasing singles since 2014, MC Tha (née Thais Dayane da Silva) didn’t break through until 2018 with “Valente”, a straight slice of brega funk, and then a smooth duet with Jaloo, “Céu Azul”. On her debut she works the space between that first hit and the duet. Her electro-pop sounds similar to Luiza Lian’s excellent Azul Moderno, but with the rhythms and spirit of Carnival flowing through the music. Her best moments— the light funk of “Despedida”; the deep, staccato groove of “Avisa Lá”; the exuberant “Coração Vagabundo”—top Lian’s delicious confections even if the album isn’t quite as consistent. Definitely one to watch. Listen here. Grade: B+
No Rules Clan, Pantone – Yet another Colombian rap album where the music’s basic but never merely functional. Bass and acoustic guitars are the core of the sound, but plenty of bleeps, klangs and blips are thrown in beneath the surface. And, hey, turns out that acoustic guitar is playing songs. Is that “Stairway to Heaven”? That’s definitely “The Look of Love”. Listen here. Grade: B
Los Wembler’s de Iquitos, Vision del Ayahuasca – Founded by their shoemaker/preacher father in 1968, this Peruvian cumbia band’s recording career sputtered to a halt in the 1980s in part due to dad’s death, but the five brothers regrouped earlier this decade to return to touring, and finally released a new album last year. I’ve only sampled 1975’s La Danza de Petrolero, but if it’s a fair comparison, their return might surpass their legendary first run. They still embrace the thin, almost brittle sound of the 1975 album, but it’s better recorded, which results in a fuller sound with clearer distinction among the instruments. If anything their music is wilder in older age with the psychedelic cumbia occasionally exploding into something crazier, more distorted than expected, but even when they play it straighter, those tinny, buzzy guitars lock in over the Latin groove for a transcendentally nervous fizz. Listen and buy here. Grade: A-
Las Yumbeñas, Yumbotopía – Trio from Bogata with Daniela Parra on guitar and vocals, Laura Vargas on bass and vocals, and Juan Cristancho on drums. On this third album punk rush evolves into something deeper. The lyrics alone—where they rage against their social anxiety, mourn the loss of trust from broken hearts, or figure it’d be easier to get to Japan than find happiness—might make you think they were sad sacks, but the dulcet melodies and the vulnerable singing of Parra and Vagas heightened by Cristancho’s struggle to hold the songs together results in something sweet and touchingly human. Listen and buy here. Grade: A-
Yung Buda, True Religion – São Paulo rapper. First full length release after two EPs. Favors slow, bassy, spacey beats with trap flourishes and plenty of auto-tune to create a depressive funk. I suspect it sounds very different under the influence or in a pit of despair, but even straight and moderately satisfied the vibe sustains. Listen here. Grade: B
Short notes:
Alice Caymmi – Genuine Brazilian musical royalty. Granddaughter of the beloved Dorival Caymmi. Daughter of Danilo and niece of Dori, both of whom rode family connections to distinguished careers. She’s continued that tradition more than merely honorably over four studio albums, but a big voice and arrangements that are Broadwayed up is too big a hurdle for my ears to overcome.
Emicida – One of the more acclaimed Brazilian rappers of the last decade with couple of mixtapes and four praised albums to his name, Emicida picks up the best hip hop traditions of social and political commentary you’d want to hear, but his music? Well, it’s not bad by any means, but his smooth R&B grooves and solid, if functional, details rarely grab you by themselves. Which means you’re thrown back on the words. Which would be fine if I understood Portuguese. Another my problem, not his.
Brazil Beat 