Last June, Kafundó Records and Dutty Artz teamed up to bring Kafundó Vol. 1, a booming compilation of "digital roots music from Brazil." Now, the two labels have linked up again to drop Kafundó Vol. 2: Roots and Bass Music from Brazil. Like the first release, Volume 2 was hand-selected by Kafundó Records founders Maga Bo and SoundGoods (Wolfram Lange) and features songs by several modern Brazilian electronic musicians. Comprising such hard-hitting, rap-influenced tracks as Comrade's "Dominei" alongside Dughettu & MC laly and Sistah Mo Respect's "Já Ouvi Dizer," as well as the seemingly klezmer-inflected "Canção De Zara" by DJ Dolores & Nonfofo, this release has "bass" in its title but it blasts several different types of genres. According to Dutty Artz, Kafundó Vol. 2: Roots and Bass Music from Brazil is not just music; it's symbolic of Brazil's quilombo network and, therefore, relevant to Brazilian society at large. Even without background knowledge of quilombos (communities founded by escaped slaves in Brazil that still exist today) or Brazil's broader culture, Kafundó Vol. 2: Roots and Bass Music from Brazil is thrilling in itself. Grab your copy, stream the full 13-track release and read a short Q&A with Maga Bo about the album below.

Okayafrica: Can you sum up the Kafundó sound you're trying to capture in these compilations?

Maga Bo: We're interested in music that joins the humanity and souls of traditional acoustic folk music with the pressure and depth of electronic production.

OKA: How did you come across the artists on the release?

MB: We are constantly researching music, going to shows, trading music with fellow DJs, but the most important way of connecting with musicians is by forming relationships and working directly with them. Our project is very much a collaborative project.

OKA: What are the African influences or rhythmic angles of this Afro-Brazilian sound?

MB: Our favorite vibes and sounds in Brazilian music have African DNA. Afro-brazilian rhythm is the backbone music in Brazil. We're interested in the hardcore roots manifestations of this as well as the more produced (and transformed) sounds deriving from these rhythms.