Ferkat Al Ard
Oghneya
(Habibi Funk)
★★★★

THE latest reissue from Berlin-based Habibi Funk, Oghneya, was originally released by Ferkat Al Ard in Lebanon 1978 — on cassette tape by the band themselves.

Led by Issam Hajali, the set is a fabulous mix of Arab, jazz, folk, rock and Brazilian musical styles such as bossa nova and tropicalia (Brazil has the largest Lebanese diaspora in the world, apparently).

With the lyrics based on the work of Palestinian poets including Mahmoud Darwish and Samih al-Qasem, there is a classic feel to the album, enhanced by enchanting string arrangements from Zaid Rahbani.

Other than the Arabic vocals, the baroque pop of opener Matar Al Sabah wouldn’t sound out of place on a Scott Walker album, while the title track is drenched in regret.

Bravo Habibi Funk for bringing yet another stunning Lebanese record to the wider world’s attention.

Shabaka
Afrikan Culture
(impulse!)
★★★★★

AS the guiding star of contemporary British jazz, the prolific Shabaka Hutchings lends his extraordinary talent to three groups — the insurrectionary Sons of Kemet, the intergalactic The Comet Is Coming and Shabaka and the Ancestors.

Now professionally known as Shabaka, he has released Afrikan Culture, an EP of eight tracks “made around the idea of meditation and what it means for me to still my own mind and accept the music which comes to the surface.”

The set is a bold shift from the bands mentioned above, with Hutchings conjuring what he calls a “forest of sound” — playing shakuhachi (a Japanese flute), and a kora and mbira (a thumb piano) from Africa.

Contemplative and introspective, but in no way easy listening or new age, the thin flute sounds gives the music an eastern flavour.

Completely unexpected and absolutely brilliant.

Stars
From Capelton Hill
(Last Gang Records)
★★★

OVERSHADOWED somewhat in the 2000s by fellow Canadian bands like Arcade Fire and Broken Social Scene, the talented Stars have been releasing music for over 20 years now.

From Capelton Hill is the Montreal outfit’s ninth studio album, and proves they are still able to hit the sweet spot of sophisticated indie pop.

Lead vocalist Amy Millan and Torquil Campbell trading affecting and romantic lyrics really is a unique selling point, with the songs ruminating on love, youth, aging and nostalgia (“Every love song is a dirty lie”).

Musically it sounds like a great ’80s indie disco playlist, from the lonely synths of I Need The Light to the Pet Shop Boys-inflected If I Never See London Again.

While they have received some much deserved recognition at home, they have been criminally underappreciated elsewhere, especially in Britain.