Circles/Cycles

Angola ’60s showcases the roots forms — acoustic-guitar-and-percussion adaptations of folk themes, carnival drums and jaunty accordions, U.S. soul influences by decade’s end — that coalesce in a new, distinctly Angolan mix on the two ’70s volumes. Driven by feathery yet crystalline guitar melodies, semba is a sprightly antidote to Cesaria Evora’s downbeat morna style and rocks in a lighter, more Caribbean or Brazilian way than the Congolese soukousfactory next door. Belita Palma’s “Manazinha,” from Angola ’70s: 1974–1978, offers ear proof that semba is only one letter removed from samba. Although both ’70s discs share the same major singers and backing bands (Jovens Do Prenda, Os Kiezos), 1972–1973 is arguably better and probably the best starting point in the series. It’s more upbeat, full of exuberance and the promise of life with independence on the horizon, with the blues-drenched saudade of Pedrito’s “Ngalenga Kubata” as counterpoint. 1974–1978 has better sound quality, but the music is more muted in tone, and cut with sadness — “Solo do Maqui” by Kisangela sounds like, of all things, an outtake from the Velvets’ third album.

Angola ’80s won’t come out till August, but Angola ‘90s is pretty much what you’d expect — resurrected veterans and next-generation roots updaters who’ve given semba an agreeably clean zouk sheen. And a handful of younger artists bred by exile, land mines and decades of civil war are adding modern forms to the mix, although AfraSoundStar’s “Soko Soke” is the only sign that reggae or rap has made a mark. (Don Snowden)