Another fascinating release from Hamburg's Glitterbeat Records comes in the form of Abantu / Before Humans, the much-anticipated new album from South African post-rock group BLK JKS. There's a long back-story here. Those familiar with the band will know that, in the late 00s, they grabbed themselves plenty of admiration and attention, beginning with a couple of well-received EP's before 2009's full-length debut, After Robots. Championed by the likes of The Mars Volta, TV On The Radio and Dave Grohl, BLK JKS embarked on an international tour, playing NYC and London before a triumphant return to Johannesburg as part of football's World Cup 2010 Kick-Off Concert. That's some feat for a band whose sound was always resolutely uncommercial. In fact, it was their astonishing blend of styles and restless experimentation which first won them attention. What happened next is subject to speculation, and I wouldn't like to comment. For whatever reasons, the band remained in South Africa, in effect splintering into separate creative entities. For fans such as myself, it's wonderful to hear them return, with brand new material and guest appearances from Malian guitarist Vieux Farka Toure and former Beastie-Boys alumni, Money Mark.
Inevitably, after such a long hiatus, there will be increased scrutiny and expectations. So how does Abantu / Before Humans stack up? Yela Oh! begins the show with slow, deliberate, distinctively African guitar rhythms, harmonised vocals and fluttering hand-drums. It makes for a hypnotic start, with subtle ebbs and flows coalescing and fading. This is not the crashing, sabre-rattling BLK JKS, but is no less effective for it. If anything, Yela Oh! displays the innate talent and gift for composition which underpins even their most raucous offerings. Running Asibaleki / Sheroes Theme thunders, skips and bounces - a sunshine feel of swooping brass and ringing guitars contrasted against a challenging, menacing backdrop of racing drums, abrasive synths and unnerving melodies. This is a classy track, full of invention and adventure, which will bring to mind everything from classic Afro-rock to Pere Ubu and The Fall.
Mme Kelapile is a particular standout. With shuffling percussion and a leaping arrangement, the band conjure up a spirit of breathless start-stop excitement. At a moment's notice, they are able to summon an incredibly beautiful soundscape of echoing vocals, fuzzing guitars and circling brass. It is remarkable BLK JKS have held onto that thrilling experimentalism, in tandem with effortlessly arresting hooks. If anything, they sound more focused than before. Harare rolls out on delicate finger-picked guitar and deep, pulsing bass before clapping, snapping drums take hold. Vocals swell and fall, slow and fast. There are so many points of interest that at times it almost feels as if you are held suspended, spread-eagled on pillars of sound, each one pulling your soul in competing directions, and what a wonderful sensation that is!
A dark undercurrent runs throughout Abantu / Before Humans, a sense that a warning, a caution, is being delivered. Present too, however, is a well-spring of warmth and, ironically, humanity. This is music that reaches back to connect with ancient traditions and then journeys forward, stopping, it seems, at every notable point in popular music history. There is a rock 'n roll spirit here, a 60s soul feel, a post-punk vitality and a post-rock ambition. It is a remarkable achievement. For those who may have feared BLK JKS had lost their way, rest assured, this is as strong and enervating a set as you could wish for.
This Music Video For "Harare" Is A Visual Tone Poem , Inspired By The Music Of BLK JKS. It Is A Digital Meditation On The Idea Of Migration , Through Space & Time , From Womb To Tomb. The Clip Features World Renowned Multi-Disciplinary Fine Artist Nandipha Mntambo With Rising Star Lesotho Born Shepard & Famo Singer Morena Leraba In Leading Roles.
