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Product Description
Review
Kinshasa is a vast, sprawling and chaotic city with a glorious musical tradition. The capital of the Democratic Republic of Congo may have suffered from war and dictatorship, with the result that many live in poverty, eking out a living on the streets; but there’s also an energy and a wild optimism that is reflected in the sounds that can be heard across the city. Kinshasa was home to Franco, Africa’s greatest guitar hero, and is now famed for that rousing and remarkable disabled band, Staff Benda Bilili.
It’s only natural that the city would attract adventurous African music fan Damon Albarn, who arrived four years ago to work alongside local musicians with the Africa Express movement. His return to Kinshasa this summer was rather different. Accompanied by a collective of 10 producers, making up the DRC Music project, he spent five days in the city, recording this album as a benefit set for Oxfam.
Those involved include the French-African music specialist Marc Antoine; XL Recordings co-founder Richard Russell, who worked with the late Gil Scott-Heron; London-based producer Kwes; and hip hop producer Dan the Automator. They went about the sessions in a highly unusual way: instead of recording separately, they all worked together in the same place, as a commune, with most of the sessions held at a studio inside the French Cultural Institute. The French filmmakers Renault Barret and Florent de la Tullaye, responsible for the remarkable documentary about Staff Benda Bilili, also became involved – they explained what was going on to different Kinshasa musicians, and invited them along to the Institute. Says Albarn, "I realised that I was witnessing and being part of a whole new way of making music."
The resulting album is an intriguing mixture of the ancient and contemporary, with every track sounding different: electronica mixes with traditional African styles, reggae with funk and more. It starts with the most commercial and Western-sounding song, Hallo, which features Albarn and Kinshasa singer Nelly Liyemge on a cool, melodic piece that begins with echoing keyboard lines before a subtle blend of beats and wailing chanting are added. Then comes a blend of Congolese rumba, cha-cha, rock and hip hop on K-Town, featuring N’Gotshima and Bebson; and later, soulful vocals from Yende Bongongo grace the sturdy, gently driving Lourds.
Other highlights include pieces from Bokatola System, who use anything from thumb piano and whistles to clattering percussion. On the remarkable Ah Congo, they start with what sounds like a church service conducted to the sound of electronic beats, and are then joined by the edgy, growled, half-spoken vocals of Jupiter Bokondji, with a wash of effects added atop everything. Overall, this is an album that’s well worth checking out, especially as the proceeds go to help Oxfam’s work in DRC. --Robin Denselow
Find more music at the BBC This link will take you off Amazon in a new window
CD Description
CD Edition Digipack (includes unique code to access album download plus 3 bonus tracks). 'Kinshasa One Two' an album by DRC music is released on Warp Records and was recorded in Kinshasa, Democratic Republic Of Congo over 5 days this past July. DRC Music (a collective of producers gathered by Damon Albarn) set out to make an album with contemporary congolese musicians and worked with more than 50 local performers including Jupiter and the Okwess International, Bokatola System and Nelly Liyemge. DRC Music is comprised of producers: t-e-e-d (totally enormous extinct dinosaurs), Dan The Automator, Jneiro Jarel, Richard Russell, Actress, Marc Antoine, Alwest, Remi Kabaka, Rodaidh McDonald and Kwes, with album artwork by Aitor Throup and Hardy Blechman has long been wracked by conflict and is home to one of the world's worst humanitarian crises. Proceeds from the album will benefit the local performers and Oxfam's work in Congo.
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Customer Reviews
Most Helpful Customer Reviews
1 of 1 people found the following review helpful
Format:Audio CD
There has been something of a buzz around Congolese music in the last few years, with the likes of Konono No. 1 both releasing albums and touring internationally, while compilations such as the Congotronics series or The Karindula Sessions have brought many obscure artists and musical forms to a wider audience. I suspect that we will come to recognise this cultural fireworks display as the equivalent of the Brazilian Tropicalia movement of the 1960s or Highlife in 1970s Lagos.
This is a 'good cause' album, released through Oxfam, which might raise suspicions in those who have bought worthy but weak compilations in the past. DRC Music is nothing of the sort. The tracks all sound like genuine collaborations, the quality of the recordings is outstanding, and the music is brilliant. A number of tracks, particularly K-Town and Three Piece Sweet, would sound awesome in any club. They have succeeded in making an album that will not only appeal to afficionados of African music but which equally belongs in the Warp section of your local record shop, alongside the other outputs of the artists from that label who are involved. The appearance of Damon Albarn might alarm those who bought his rather forgettable Mali Music album, but here his contribution seems limited to backing vocals on a single track. There's no hint of cultural imperialism; this is a real meeting of musical styles, and it works.
In short, buy this, and let it be your introduction to one of the most thrilling musical movements in the world today.
This is a 'good cause' album, released through Oxfam, which might raise suspicions in those who have bought worthy but weak compilations in the past. DRC Music is nothing of the sort. The tracks all sound like genuine collaborations, the quality of the recordings is outstanding, and the music is brilliant. A number of tracks, particularly K-Town and Three Piece Sweet, would sound awesome in any club. They have succeeded in making an album that will not only appeal to afficionados of African music but which equally belongs in the Warp section of your local record shop, alongside the other outputs of the artists from that label who are involved. The appearance of Damon Albarn might alarm those who bought his rather forgettable Mali Music album, but here his contribution seems limited to backing vocals on a single track. There's no hint of cultural imperialism; this is a real meeting of musical styles, and it works.
In short, buy this, and let it be your introduction to one of the most thrilling musical movements in the world today.
3 of 4 people found the following review helpful
Format:Audio CD
DRC music is a very interesting project and highly ambitious considering the 50+ artists on board. There are some glittering moments however not enough consistency to make this long player brilliant for the long run.
I've only listened to it twice so maybe i'm being a bit keen and perhaps have not chosen the right time of day or 'state of mind' to fully appreciate it yet. On fresh ears though, it's great to hear the contrast of electronics and native Congolese instrumentals mashed together, very interesting listening and rather bonkers too.
Try this in the car or outside, the results could be rather special!?
Well done to all the artists on this album, massive respect and a big thank you to all people affiliated to Warp, XL and Honest Jon' for putting together such a great project for such an important cause! Support this.
Respect!
TS Jive
I've only listened to it twice so maybe i'm being a bit keen and perhaps have not chosen the right time of day or 'state of mind' to fully appreciate it yet. On fresh ears though, it's great to hear the contrast of electronics and native Congolese instrumentals mashed together, very interesting listening and rather bonkers too.
Try this in the car or outside, the results could be rather special!?
Well done to all the artists on this album, massive respect and a big thank you to all people affiliated to Warp, XL and Honest Jon' for putting together such a great project for such an important cause! Support this.
Respect!
TS Jive
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