Chadwick Boseman’s T’Challa dies off-screen of an undisclosed disease, suffering “in silence” notes sister Shuri (Letitia Wright), actor and role as one at the end. Lost after one, uniquely iconic full-length film, recasting and digital resurrection was rejected by shocked writer-director Ryan Coogler, even as he ripped his sequel script up.

The Oslo World organisers are at pains to point out that, despite the name, they are not a “world music” festival. And with good reason, really. There may have been a few familiar WOMAD veterans headlining over the week-long event – Senegal’s Youssou N’Dour, Malie's Fatoumata Diawara, the queen of Cuba Omara Portuondo – but the emphasis was emphatically not on any kind of beads-and-bongoes authenticity.

“For life to exist, we need rhythm” announces Ian Parmel on the opening track of rising UK jazz saxophonist Xhosa Cole’s sophomore album. This is a view that Xhosa has taken to heart – for while his debut album was awash with echoes of John Coltrane’s classic hard bop sounds, Ibeji comprises a collection of saxophone and percussion collaborations with seven separate drummers, which explore West African beats and musical flavours through a jazz lens.

A tall African man stands alone in a pool of light. He has a cello and an immensely versatile voice. In a matter seconds, he holds the audience enchanted. He inhabits the stage as if it were by a campfire in the bush.

South-African cellist Abel Selaocoe is about to begin his third major concert in London in under a year. As the support artist for kora player Ballake Sissoko and cellist Vincent Segal at the Roundhouse in January, he received a lengthy ovation for his 30 minute set, having demonstrated an uncanny ability to play the audience as dexterously as he plays his cello.

The Star Feminine Band are from Benin, all of them under 18, the youngest only 12. They hail from a village in the north of their small country tucked between Togo and Nigeria. Their pop-inflected mix of high life, Congolese rhumba and other trans-African styles is as ebullient as it comes, and probably very infectious on the dance floor.

This month’s reviews take in everything from New York new wave pop to apocalyptic electro to kitsch exotica. There are no genre boundaries at theartsdesk on Vinyl, just a constant desire to play music loud, whether new or reissues, then share what it felt like. Dive in!

VINYL OF THE MONTH

Congotronics International Where’s the One (Crammed Discs)

FRIDAY 22 JULY by Caspar Gomez

Spring is in the air and vinyl is, as always, on the turntable here at theartsdesk on Vinyl. We’ve been ploughing through all the latest releases and reissues, played loud on a large sound system, each evaluated as fully as possible. Below you’ll find 7000 words to pick through and locate what sounds good to you. Unrestricted by genre, all musical life is here. Dive in!

VINYL OF THE MONTH

James Domestic Carrion Repeating (Amok/TNS)

The fourth Ibibio Sound Machine album is produced by Hot Chip (who also contribute musically). However, fans will not hear a drastic step away from their last album, 2019’s Doko Mien. Instead, it has the feel of a logical progression, albeit with just that bit more techno-pop heft in places, and a subtle flavour of the Eighties. Business-as-usual, then?