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The Washington Post Australian musician Xavier Rudd plays more than a dozen instruments across his seven studio albums, but none are more striking than the didgeridoo. The long and narrow, droning and yelping wind instrument — developed by indigenous Australians and traditionally called a yidaki — is a signature part of Rudd’s feel-good folk rock. “I was always drawn to the didgeridoo,” Rudd says. “It’s from a small part of [Australia], but it became an instrument for the whole country eventually because it was the most prominent Aboriginal tool recognized around the world.'

The Washington Post When Thiat and Kilifeu were 17, starting their lives as hip-hop artists in Kaolack, Senegal, they were arrested and beaten for performing a song that spoke out against their mayor. That didn’t shut them up: A decade and a half later, the music of their rap group, Keurgui Crew, helped mobilize one of Senegal’s biggest youth voter turnouts in history for the 2012 presidential election. “Our hip-hop is not for dancing or having a party,” Thiat says. “We create music that gives people hope.”.

The Washington Post Big Boi was closing the windows on his computer screen when a song on a pop-up ad caught his attention. He opened the Shazam app on his phone and held it to the speakers. The artist: Phantogram. The track: “Mouthful of Diamonds.” Soon after, the OutKast rapper featured the song as the jam of the week on his website. Phantogram, the indie-electronic duo made up of best friends Sarah Barthel and Josh Carter, was shocked — and ecstatic. “It was hard for us to believe,” Barthel says. “We grew up on OutKast.

We always looked to OutKast as a [model for how] we wanted to build our own career because they were so unique and their sound was so fresh.”. The Washington Post Eleven years ago, Detroit-based singer Vienna Teng left her cushy job as a software engineer at Cisco Systems in California to pursue a career in music. Since then, she’s recorded five albums, including her newest, “Aims.” Grassroots Growing: After the release of her 2002 debut, “Waking Hour,” Teng went from playing coffeehouses to appearances on NPR’s “Weekend Edition” and “Late Show with David Letterman” in less than a year. On “Aims,” Teng, usually accompanied by simple piano, ventures into new territory, using guitar and percussion loops. The Washington Post Nick Littlemore’s through-the-clouds synths perfectly complement Luke Steele’s falsetto vocals on Empire of the Sun’s second album, “Ice on a Dune,” which dropped in June. Since the release of the Australian electro-pop duo’s hit debut “Walking on a Dream” five years ago, Littlemore, left, and Steele, right, have been on a nonstop world tour. Synth We Met: The two met in 2000 at a bar in Sydney, which led to collaborations on Littlemore’s rock project Teenager and Steele’s alt-rock band The Sleepy Jackson.

The two reunited to work on songs for the dance act Pnau before forming Empire of the Sun in 2008. The Washington Post Michael Kiwanuka bought a harmonica a few weeks ago. The purchase, inspired by a recent fall down a rabbit hole of old Neil Young tracks, underscores similarities between the London-born Kiwanuka’s soulful music and the Canadian classic-folkie’s work: Both have a timeless sound and spare instrumentation. After Kiwanuka, 26, released his debut album “Home Again” last year, critics were quick to call the record a success, comparing the singer to Bill Withers, Otis Redding and other soul and R&B vocalists of the ’60s and ’70s.

The Washington Post Baltimore-based country artist Jenny Leigh is a self-described tomboy who grew up in “cow town” Frederick, Md. She competed on The CW’s “The Next,” and her video for the song “Crossroads” has more than 125,000 views on YouTube. Her second EP, “Tipping Point,” arrives July 30.

Nashville Networking: Leigh wanted to work with the best in the business for her new EP, so she ran a Kickstarter campaign and raised $10,000. The money paid for recording sessions with Nashville producer Larry Beaird, who has worked with Lady Antebellum, Luke Bryan and Dolly Parton. The Washington Post British electronic duo Mount Kimbie has been labeled “post-dubstep” — a genre different from its popular forebear in that it lacks dubstep’s heavy bass. The band’s sound is more ambient and creatively ambitious than booming dance tracks; Mount Kimbie creates music by stitching together vocals, instrumental passages, field recordings and vintage drum machine samples. The duo emerged from the plaster walls of a bedroom studio and into the limelight after its positively received debut record, 2010’s “Crooks and Lovers.” Mount Kimbie’s new album, the just-released “Cold Spring Fault Less Youth,” features 11 tracks, each of which sounds completely unlike the others.