Fans of highlife, afrobeats and African funk, among others, generally discover new music due to either insane passion or dumb luck (count me as the latter). Most music from the Dark Continent is short on popularity and long in obscurity, oftentimes discovered accidentally in international bins at record stores (or, as it were, on blogs). The music’s barely traceable influence is hidden even further into the folds of a tribal culture largely devoid of a cohesive, or at least well documented, historical record. Reference points and genre associations–normal and somewhat less exhausting avenues of musical exploration–are . . .
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