フォーマット |
CD |
---|---|
構成数 |
1 |
国内/輸入 |
輸入 (その他) |
パッケージ仕様 |
- |
発売日 |
2011年11月29日 |
---|---|
規格品番 |
ENCD015 |
レーベル |
|
SKU |
5600270875152 |
Hostess
構成数 | 1枚
合計収録時間 | 00:46:22
Recording information: BBS Studios, Vendas Novas; Bogota, Colombia; Conductor's House Aka Mo' Kubiko Studio, Queluz Belas; Enchufada Studio, Lisbon; Kingston, Jamaica; Monchique; RedBull Studios, London. Komba, as a voice-over early in Buraka Som Sistema's so-titled sophomore album helpfully explains, is an Angolan religious tradition that's roughly the equivalent of an Irish wake: a massive party held a week after a death, celebrating the life of the deceased. The accordingly spooky and festive title track, which is primarily sung in English (and, in part, as though from beyond the grave), together with several references to Bantu tribal rituals in the opening "Eskeleto" (Skeleton), sets up the notion that the album will be something of a cultural guided tour. But save, perhaps, for the ominous, drum-driven instrumental "Macumba" (whose title refers to Afro-Brazilian folk religion), there's no other indication here (at least to Anglophones) that Portugal's Kuduro champions have any such edificatory intentions in mind: for all practical purposes, Komba is "conceptual" only in that -- as could only be expected -- it's just one hell of a party. Not tampering too much with the formula that made 2008's Black Diamond such an undeniable, explosive experience, Komba essentially delivers more of the same: fierce, hard-hitting, yet decidedly playful, fully polyglot electronic gutter-funk. The average intensity of these new tracks may have come down a notch (though they're still plenty fiery), and there's an uptick in what might seem like crossover pop concessions (not that there's anything wrong with that) -- incorporating elements from R&B ("Voodoo Love") and blandly populist dance-pop (first single "[We Stay] Up All Night" is something like the African tech-funk version of Kesha), as well as the self-explanatory reggaeton hybrid "Burakaton" -- basically, it's just the group indulging its omnivorous and well-established pan-global pop wanderlust. (See also the nutty "LOL & POP," which combines childlike taunts, Clipse-referencing raps, and shout-outs to past BSS tracks with a frenetic, vaguely surf-punky riff.) There aren't quite as many standout tracks this time around, but there are no real low points to speak of (although the dopey ghetto-tech vocal sampling of the incessantly blip-happy "Hypnotized" comes close), and there's plenty to enjoy, especially from a beat programming standpoint -- or, even more especially, from the center of a crowded, sweat-soaked dancefloor. Not at all a bad way to go. ~ K. Ross Hoffman
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1.[CD]
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1.Eskeleto
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2.Komba
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3.Voodoo Love - (featuring Sara Tavares)
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4.Tira O Pe
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5.(We Stay) Up All Night - (featuring Roses Gabor/Blaya)
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6.Hypnotized
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7.Lol & Pop
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8.Vem Curtir - (featuring Stereotyp)
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9.Candonga
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10.Hangover (Bababa)
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11.Macumba - (featuring Mixhell)
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12.Burakaton - (featuring Bomba Estereo)
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M.I.A.の参加とフジロックでのパフォーマンスがバズッて鮮烈なデビューを飾った初作から3年ぶりの2作目。世界中のダンサーの足腰を絡め取った得体の知れない熱量はさらに高まり、インディー・ダンスの折衷作用と急速に距離を縮めながらまた高まる〈ワールド・ミュージック〉への関心を、UKベース・ミュージック黄金期の真っ直中でリンク。強烈なまでに強度を上げたビートの応酬はその祭典をいっそう盛り上げるに違いない。
bounce (C)入江亮平タワーレコード (vol.337(2011年10月25日発行号)掲載)
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