Congotronics International – Where’s The One?

Crammed Discs

This was quite a feat that Crammed Discs undertook to bring together Konono No1, Kasai Allstars, Deerhoof, Juana Molina, Wildbirds and Peacedrums and one of Skeletons to make an international supergroup melding that wild and evocative Kinshasa sound with some of the more esoteric of western alternative musical ideas. 

Considering the logistics and the musical approaches and the number of artists (nineteen) involved, this shouldn’t have worked. But somehow, through a miracle of modern technology and the sheer propulsive will of those concerned, what has been produced is a rambling, multicultural melange of song, story, friendship and humanity where the lesson learned is that regardless of language, people from the most diverse of cultures can produce a thing of artistic relevance that eschews all attempts at categorisation.

Spread over twenty-one tracks, ranging from little personal vignettes to full-on band workouts which raise the rafters, Where’s The One? breathes new life into the old east meets west axiom. That tinny, scrappy, highlife guitar sound that bursts out of opener “Where’s The One?” is so evocative that you are immediately transported to dusty side streets thronging with humanity. The insistent drums and hypnotic repetitive vocals draw you right in to the adventure and that kind of whirling intensity rarely lets up.

It is full of joy and delight and although there are all sorts of additional western textures, the bare bones are those that started out in Congo. Crammed’s Vincent Kenis, the man who was essentially behind the whole idea, delivers barking bass on the lighter but still infectious “Resila”, which was written by Juana Molina. Her sweet, rootless vocal shares space with roiling drums and a surprising guitar solo. These two opening tracks really lay out the promise of what is to come.

The sound of the thumb piano, distorted, slightly crummy yet zesty and its repetitive use brings to mind the kind of hypnotic vibe that the Japanese shamisen also creates, but here it is more earthy, drawing to mind an image of the the players constructing their own instruments out of the city’s detritus. There is something about the layering of the drums and the addition of bells, whistles and other textures that creates the picture of the full ensemble, even though the basic tracks were constructed remotely, sometimes winging their way two or three times across continents.

All the tracks share the joy and to this western ear they are so different but addictive in their rhythmic pressure. Satomi Matsuzaki from Deerhoof’s voice lends a soothing air to “Super Duper Rescue Allstars” and there is something in the feel that is redolent of that band with some really lovely, almost restrained, backing vocals.

The thrill of massed drums and the variety of voices on ‘Doubt/ Hope” is overwhelming, but with Mariann Wallentin‘s jazzy blues delivery lending yet another inflection to the already groaning basket of ideas as her mellow tones sit atop a blistering burst of static sound. Elsewhere, there is a thumb piano solo on “Kabongo Celeste” and “On The Road” is a little audio vérité snippet which leads into the pastoral instrumental interlude “Beyond The 7th Bend”, which is so sunny and easy on the ear.

If you flick through the booklet, you can see the huge variety of people credited with the writing of the tracks and the different combinations make for some idiosyncratic work; but the whole thing hangs together so well. Because some pieces are only a minute or two long, there is absolutely no time to grow bored.

If you were ever a fan of the original Congotronics stuff, you’ll love this as it takes those ideas and runs in so many different directions. It is an absolute credit to all those involved that it is so listenable and supremely enjoyable.

-Mr Olivetti-