Review by: Mark Maria Ahsmann
Album assigned by: Jaime Vargas Sánchez
Well, I like it.
I find it difficult to put in words what I like about it. It’s JuJu, a genre of music which I know almost nothing about except that it’s a form of African pop music from Nigeria and King Sunny Adé is one of the most renowned artists therein.
So: a non-review.
The last couple of weeks I’ve been living in a redecoration job that’s gotten completely out of hand – let’s say a demolished and leaky bunker with too many personal belongings in it for comfort. And shaky shaky wifi. And the occasional headache caused by ammonia fumes. So that’s how I listened to this album. It is good music to do some housepainting to. Though my helping hand Franz Ferdinand disagreed; he said it annoyed him. Then I had to put it off; to humour him. Anyway; I dug it but I didn’t have time to read up on the subject, let alone review the album.
The music is characterized by grooves of polyrhythmic drum and bass playing (all kinds of different traditional percussion, I suppose) very fluid and clear mulitple guitar lines and call- and response type of singing; the unobtrusive and very sweet, melancholic voice of Adé taking the lead. Of course I don’t have a clue what they’re singing about.
Adé had a moment of fame in 80’s when a couple of his albums, Synchro System and Aura, (maybe there were more) were released on Island and distributed worldwide to general positive reviews. I missed out on Synchro System, heard it at a friend’s place and bought Aura instead. So that’s how I knew about King Sunny until now. Typically I never heard more than these two albums, my attention moved on, and I think that’s exemplary for how many western listeners listen to “World Music” – from hype to hype.
Isele Yi Leju contains recordings from before the Island years. I suspected that Adé’s sound on the Island albums was adapted to a large extend to what western audiences demanded. Also because the rhythmic patterns are not dissimilar to those used by Talking Heads and Peter Gabriel, to name but a few. However, this is not the case, apart from the obligatory 80’s stereoids treatment on the drums the sound is mostly the same.
There’s also a large resemblance to traditional Surinamese music, Kawina and Kaseko, that you hear a lot if you live in Amsterdam (as there are many people with a Surinamese background here).
This is music that is better experienced in a live setting or at a party – great for hip-shaking. When heard in the background it can become a bit monotonous at times. But the painting comes along nicely with this album. As long as Franz Ferdinand isn’t here.
You should try to redecorate my apartment for a change. See how you like it. Anyway, I have work to do. Fixing a hole.