Bedouin Soundclash
By: Atrossity

Like magic creating illusion and mystery, the Bedouin Soundclash manifests its genius reputation for fusing reggae, rock and soul into a complete package.  For Eon Sinclair and Jay Malinowski, the simplicities of their reggae soul sound blends effortlessly, as their rhythm progresses and breezes into your atmosphere.  Each note cascades out contagiously into the air, seducing every individual that comes in contact.  The spellbinding guitar grooves and profound dubbing of the bass are the flawless components to the success and development of the Bedouin Soundclash.

The band name derives from Bedawi, a reggae experimentalist, who released an album of the same name in 1996.  Before the overhead light bulb went off with the idea of playing in a band, Jay and Eon were just passing college students with a passion for music.  Cruising the halls at Queen’s University in Kingston, Ontario, Canada, Jay would pass Eon’s room, where bass tunes were consistently present.  With having no experience playing in previous bands, they set their sights on jamming.  Pushing the envelope has further propelled these two Canadian natives into a journey of triumphant tours, which live on year after year.  Their interactive control captivates crowds from the first initial note played.  A surrounding dance display is a common experience at a Bedouin Soundclash show.

The music is pushed to the edge with the sheer purpose of giving their listeners something vibrant to work with.  “Our goals have always been to make people dance and be interactive.  The shows are just as much about the people, as you on the stage.  I think our best shows are the ones where everyone loses their inhabitations and it’s more of a dance-off.  You come to a show to get away from something else.  We want the people to let lose and engage in dancing,” says rhythm and vocalist Jay Malinowski.

There is an addictive sense to a room of Bedouin fans, as the music pulsates through the speakers.  The crowd, always tends to feed off their resonance and the participation level, which spreads throughout each and every onlooker.  “If you are genuinely honest with people and break down the barrier between you and the audience, you will have the perfect bonding experience.”  For not having any other past musical efforts to fall back on for familiarity, the Bedouin Soundclash prove their gifts were meant for the art of music.

In the studio, they’ve had the opportunity to work with legendary Bad Brains bassist turn producer Darryl Jenifer.  The experience pulled the group into a tighter knit as they progressed from one record to next.  Both efforts, Sounding a Mosaic and Street Gospels have been recorded with Jenifer.  “We started having a relationship with Darryl on our first record.  We got a long so well, on a personal level.  They (Bad Brains) have always been outsides and we could relate to that so well.  We love being in the studio with Darryl and we’ll always want to continue working with him.”  Jenifer has been known to give a free range of space, as he incorporates a lighter mix of ideas.  At the same time, his wide skill of knowledge is present when there’s a golden sound to just let it be, what it truly wants to be.  While singer Jay’s raspy wail sounds, at times, cross between Bob Marley and Paul Simon, their ongoing work ethic and influences continue to race immensely proving this musical outfit is here to stay.

Kardinal Offishall
“Not 4 Sale”
(Konlive/Geffen)
Rating: 4/4

If you haven’t heard Kardinal Offishall’s album “Quest for Fire: Firestarter, Vol. 1,” then consider yourself deprived of some great reggae influenced hip-hop. Bubbling in the underground circuit in the states for years (even though he’s a bigger name in his native Toronto), Kardinal always seemed one song away from blowing up in the states. It was with pleasant surprise to see rap/r&b crooner Akon take notice placing him on his Konlive imprint releasing Kardinal’s newest album in four years “Not 4 Sale.”

When you get this album you must understand one thing; it’s an adrenaline rush of music that moves swiftly and doesn’t slow down throughout. Play this cd in it’s entirety at a party and everyone will be happy. The album begins with “Burnt” displaying his strong reggae/dance-hall roots perfectly balancing that sound with hip-hop. The album has an all-star cast including Virginia trappers Clipse on “Set It Off,” “Dangerous” with Akon and independent artist J-Davey on “Digital Motown.”   Production wise, imagine what Timbaland did for Justin Timberlake on “Future Sex/Love Songs” and add a dance-hall flavor to it. The results are just as intense as he has crafted a very impressive party, or dare I say, pop album.

There’s absolutely no songs that I considered skipping when listening to it. It’s a perfect party album that has all the ingredients of being a huge success. Let’s see if Akon’s magic touch can work on him as it did with T-Pain. At times the album may be too energized hoping that the tone can calm down and we see more introspective Kardinal. Maybe on his sophomore effort under Akon’s imprint, but for now it’s purely for the clubs and cars with great systems. If it ain’t broke, you know the rest. -Preach Jacobs

Seun Kuti

Many Things 

Disorient

Rating: 4/4

Bob Marley fans in search of the next reggae icon prematurely crowned son Ziggy his heir apparent before realizing that younger brother Stephen was the one who had inherited his father’s voice, songwriting chops and sociopolitical concerns. Now, Seun Kuti (whose Yoruban name means “God has done great things”) comes along with seven sizzling Afrobeat songs that prove him even more of a dead ringer for influential father Fela than his older brother, Femi Kuti.  Touring with Nigerian legend Fela from the age of eight, Seun learned to play the saxophone and piano, eventually performing as opening act with his father’s band, Egypt 80. Now 25, Seun’s debut finds him still accompanied by that band, and also proves them the tightest funk unit since the heyday of James Brown’s JBs.  On killer jams such as the title track, “Na Oil,” and “Mosquito Song,” syncopated drums, subterranean basslines, rich guitar, warm organ and blazing horns create a furiously funky foundation as Seun sings passionately about the problems plaguing his homeland. From political corruption and greed to the fight against malaria, Seun Kuti tackles each topic with undeniable charisma and righteous fervor, freeing your mind while Egypt 80’s relentless grooves ensure that your ass will follow.

Grupo Fantasma

Sonidos Gold

High Wire Music

3.5/4

Stylistically speaking, Grupo Fantasma is a tough band to pin down. Formed in 2000 and comprised of musicians hailing from all across Latin America, this Austin-based band quickly established a reputation for incendiary live shows. Listening to their third studio LP, it’s easy to understand why, as their unique blend of cumbia, salsa, Latin jazz, funk, reggae and soul proves immensely infectious.  The opening “El Sabio Soy Yo” starts the party off in typical genre-bending fashion, with syncopated Latin percussion, blaring horns and chunky wah guitar riding atop a laconic reggae beat, with rousing vocals that reverberate with a dub-style production influence. “Arroz Con Frijoles” is one of those funky call-and-response jams designed to whip audiences into a frenzy, recalling Latin rock legends such as Santana at their most engaging, while the distorted guitars and retro organs of the furiously funky “(Naci De La) Rumba Y Guaganco” could easily be mistaken for Sly & the Family Stone were it not for the Spanish lyrics.  Ozomatli is the only band in recent memory that comes anywhere close to creating such an accessible brand of multicultural party music. But with all due respect, Grupo Fantasma does it much, much better.