Candomblé, the Brazilian religious and musical tradition born from the rhythms of enslaved West Africans in the 19th century, is getting its archival moment. Athens-based label Flee has unearthed field recordings from a Salvador community in the late 1980s, capturing the polyrhythmic barrage that induces spirit possession. Side one is a hazy, hissy time capsule: overlapping voices on Ossaim, a wailing male voice on Xangô, and drumming so infectious you'll want to get possessed yourself. Ogum brings clave-style clatter, while Entrada dos Orixás rocks a mid-tempo swing like undulating waves. It's fragmented, but the drums are relentless.

Side two lets modern producers loose on this rhythmic goldmine. DJ Anderson do Paraiso turns Festa Iansã into sparse baile funk, Vincent Taeger layers drum kit breakbeats into a funk odyssey on O Santo da o Nome, Xexa slows things to a dub-fuelled ambience on Pluralidades, and Jonas Albrecht stacks loops into a blistering seven-minute techno epic on All My Love. Flee cements its rep as the most imaginative archival label around, turning sacramental rhythms into dancefloor rituals.

Also out this month: Mexican producer Debit's Potpourri (Naafi) blends Latin folk with club bass, featuring trance synths and guaracha rhythm; Brazilian Lau Ro's self-titled album (Mexican Summer) offers sun-dappled bossa nova with psychedelic reverb; and French producer Akusmi's Terra Incognita (Tonal Union) updates spiritual jazz with a stellar lineup including percussionist Sarathy Korwar and harpist Marysia Osu.