He has brought a modern political and aesthetic sense to the music of his home- Cyprus. Kkismettin (fate- destiny- kismet) was made during the pandemic lockdown we have all lived with- and Antonis took this as an opportunity to create new songs that could speak in various ways about that loss of freedom- and its parallels in the rest of our lives.

"With advanced degrees in musical performance and voice, and captured by the culture, spirituality and music of Candomblé, Bahia-born Irma Ferreira began a profound investigation of her Afro-Brazilian roots...  (her) first solo album release, Ém Cantos de Orisá, bears the fruit of her investigation, borrowing both chants and melodies from Candomblé’s trove of devotional works. The chants have a more liturgical sound, while the songs suggest more secular themes. Pronounced percussion, typically expressive of the the more bellicose orisás, such as Sango, the spirit of thunder and lightning, and Ogúm, the warrior lord of iron and steel, yields to a more melody driven sound in Ferreira’s interpretations. The instrumentation, a blend of Western and Afro Brazilian, provides a felicitous, understated backdrop for her vocals." - RootsWorld

The music on this collection- recorded during the 1970s and early 1980s, arguably Nigeria’s most musically fertile and innovative period- is highlife getting a much needed makeover. Like the bigger names from eastern Igboland such as Celestine Ukwu, Chief Stephen Osita Osadebe, or Ali Chukwuma, Alhaji Waziri Oshomah and his bands de-emphasized the jazzy swing and large horn sections of highlife’s outdated past, and instead, brought local rhythms to the foreground, allowing electric guitars and keyboards to drive languorous, unhurried melodies for extended grooves. Luaka Bop’s latest in its 'World Spirituality Classics' series demonstrates Waziri’s leisurely approach with a collection of 7 songs anywhere from 8 to 17 minutes long.