Black Ants Always Fly Together, One Bangle Makes No Sound

Description

This fourth album by the legendary Congolese collective marks a new milestone in its history, already rich in twists and turns: Kasai Allstars has expanded its musical spectrum by incorporating its own approach to electronic music. Black Ants Always Fly... is also the first album entirely produced by one of the group's members, guitarist Mopero Mupemba. The interweaving of electric guitars, xylophones, drums, and the famous thumb pianos with DIY amplification is now supported by electronic percussion programming, which integrates perfectly because it was created with a deep understanding of the rhythmic subtleties of these ritualistic and traditional musics. Combined with the dizzying vocals for which the group is renowned, this blend forms a rich tapestry of sonic textures and exhilarating polyrhythms. "Infinitely inventive... a long, joyous journey into the surreal." In 'Black Ants Always Fly'..., "the group once again draws inspiration from traditional music played in their communities of origin, in Kasai, including the Luba, Songye, and Tetela 'ethnic groups'. Guitarist/producer Mopero Mupemba (who wrote about half of the songs on the album) also drew melodic ideas from neighboring regions (including Bandundu), which brings new colors to this album. The album's title is a collage of two popular proverbs (note, by the way, the resemblance between 'a single bracelet cannot make a sound' and a famous Zen koan...). Both express the idea that 'unity is strength,' a phrase that is also the national motto of Bolivia, Bulgaria, Georgia, Haiti, Belgium, and others. Unity and mutual support allow one to overcome difficulties and achieve goals that would be inaccessible to an isolated person. The lyrics of the song 'Ooloh, a War Dance for Peace' are a striking illustration of this. Mopero recounts: 'The inspiration for this song originates in a village in Sankuru province. When a problem, a dispute arises among the villagers, they seek a peaceful solution by performing a traditional war dance, weapons in hand. This dance served to signal the end of hostilities; it is now used to resolve conflicts.' Another example of the themes addressed in the songs: the lyrics of 'Musungu Elongo Paints His Face White To Scare Small Children'. Mopero explains: 'In some Basongye villages, a man sometimes adopts the role of a character named Musungu Elongo. He covers his face with white clay to scare children who are not well-behaved. He chases them and threatens to devour them if they misbehave... and if they don't give him nuts and peanuts.' It's hard not to think of both Halloween and Père Fouettard, but with a reversal of roles and colors..." "It's a journalistic cliché to say 'you've never heard anything like it'. For once, it's true." --- THE TIMES ---. "Infinitely inventive... a long, joyous journey into the surreal." --- ROLLING STONE ---. "The true primitives of the future... A 'primeval' rock capable of drawing everything that flutters near its great ritualized whirlwind into a trance... This music is invincible." --- LES INROCKS ---.