Who would have thought that a band from the Congo who have existed in some form or another since the late 60's, and whose primary instruments consist of likembes constructed out of scraps from second hand car part markets, would become a modern indie rock sensation? In 2005, Crammed Discs released Konono No. 1's official debut album "Congotronics," and almost immediately set the indie world ablaze with the band's joyous, but gritty sound. The band rocked like no other world musicians before, in part because of their homemade approach to amplification, that matched their approach to instrumentation. The band utilized a wooden microphone that included a magnet from an automobile alternator, and a megaphone converted into an amplifier which gave the band's music a dirty fuzz that appealed to ears fine-tuned to buzz of lo-fi. Another element of the band's success were their compositions that found members thumbing out infectious melodies on their likembes while percussion and bass players pounded out propulsive rhythms not unlike the krautrock rhythms that were enjoying an impressive revival throughout the aughts. Following the huge critical and popular reception of "Congotronics" the band began to tour the States and Europe to sold out crowds, found themselves on split releases with the likes of Dead C and even backed up Bjork on "Volta." Given that the band's sound was cultivated and perfected in the streets of the Congo, in the most DIY manner possible, there was a fear that once the band achieved the level of recognition and success they were enjoying that a recording in a professional studio with professional instruments would be just around the corner, likely ruining the rawness that made their music so captivating. Thankfully those fears have proven to be unfounded.Yes, "Assume Crash Position" was recorded in a professional studio, and yes there is a professional bass guitar keeping the backbeat now, but for the most part the band brought their homemade instruments, as well as their insanely joyous performances, into the studio. If there is any difference between the sound quality of this album and "Congotronics" it is that there is a greater separation of sound between the instruments, allowing for more of the incredible overtones and undertones of the band's music to come out. If anything, "Assume Crash Position" actually sounds MORE organic than "Congotronics" as a result of the spatial separation of sound afforded by studio production.
"Assume Crash Position" also offers more variety between the band's compositions than previously. When it came down to it the bulk of "Congotronics" were variations on a theme - granted it was an awesome theme, but much of the music was based around the same melodies, with variations in rhythm, speed and volume. Not so this time around. The band offers up traditional tribal music alongside and interspersed with the band's polyrhythmic innovations which made them so popular to begin with. Songs like "Makembe" and "Wumbanzanga" flawless combine the band's modern sounds with traditional call and response tribal workouts. "Thin Legs," in particular, recalls ritual music more than anything in the krautrock canon.
The band's best excursions come in the album's latter half. "Fula Fula" is a slow burning electro-fried march. Anchored by a pulsating backbeat, melodies and alternating pounding rhythms explode throughout the piece, making for one of the most viral Konono tracks to date. Walk down the street with this song on the earbuds, and you'll likely end up strutting like a king rooster, whether you want to or not. The band speeds things up with "Guiyome," which offers an sunny lyrical break that acts as a prelude to the album's best track, the epic "Konono Wa Wa Wa." The piece is an amalgam of nearly everything that makes Konono No. 1 the phenomenon they are. An early call and response turns into an energetic polyrhythmic workout. A nearly psychedelic likembe solo follows before another call and response that is eventually overtaken by an even more furious rhythm attack full of captivating permutations. You could easily see this song stretching on into the horizon with crowds dancing away their cares and worries until they exist no more.
That final impression - of both immense joy and trance-like enthrallment of the complexity at work in the band's music is exactly why this previously little known band, lead by a 70 some year-old former truck driver is now one of the most beloved musical ensembles on earth. Their music is no less involved than Steve Reich or Philip Glass, but it is hella lot more fun and life affirming than either. With "Assume Crash Position," the band has given us all another reason to stop what they are doing, put down our burdens, turn up the volume and let the music swallow us whole.
CORRECTION: I received a message from the producer of "Assume Crash Position," Vincent Kenis, concerning the recording of the album at what I called a "professional studio." I apologize for any mischaracterization:
"Assume Crash Position was not done in a "professional studio". In fact the conditions of the recording were pretty much the same as with their first album Congotronics: half of the songs were recorded at Halle de la Gombe, a big stage in the open under a giant corrugated iron roof. The rest was recorded in various bars and hotel rooms in Kinshasa. The mixes were done in a room of 12 m2 aka XXL Studio, using only two Genelec 1030 monitors and a MacBook Pro"
A live sample of Konono No. 1 at work
Konono No. 1 on Gilles Peterson
"Fula Fula"
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