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Congotronics

by

Konono No.1

 
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Congotronics

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Avg: 4.0 (220 ratings)

Our dream band: Jimi Hendrix meets Talking Heads in the heart of the Congo.

  • We Say...

    Review by Richard Gehr

    "The street has its own uses for technology," Neuromancer author William Gibson famously declared. And Konono No. 1's electrified likembé "thumb pianos" — bass, tenor and soprano — would fit comfortably alongside Gibson's fictitious Rastafarian rocketeers and database-residing voodoo deities. Formed in the late '70s by an electrician called simply Mingiedi, Konono take the traditional music of the Bazombe, a tribe living on the Angola-Congo border, combine it with modern Congolese dance music and give it an afro-punk twist. The group's sound is amplified well past the point of distortion with microphones fashioned from magnets found in abandoned cars. and the likembé are accompanied by percussion consisting of cooking pots, tin cans and more car parts. The resulting music resembles a cross between a New Orleans marching band, a village wedding combo and the Jimi Hendrix Experience.

    With its abrasive yet strangely compelling sound (which first appeared on a 1985 anthology of urban Zairean music), Konono No. 1 aren't necessarily trying to win friends outside their community. Their homemade PA system, designed to elevate the band above their neighborhood street sounds, is loud and distorted enough to wake the ancestors. The closest the group comes to a hook is the subtle likembé figure at the beginning of "Paradiso," the album's strongest track, above a thumping, quasi-disco beat. Congotronics demands surrender, and the longer cuts give you plenty of time to ramble around the group's thick, buzzing polyrhythms, untranslated chants and unexpected changes. The group displays a mellower side in "Kule Kule," which of course makes everything else sound all the more wild, incessant and wonderfully unlikely.

  • They Say...

    Review by Steve Leggett, All Music Guide

    This amazing record is the product of utility, coincidence, and accidental discovery as much as it is a product of academic deliberation, and it manages to sound old and traditional even as it is refreshingly (even radically) new and avant-garde. Konono No. 1 was formed in the 1980s by a group of Bazombo musicians, dancers, and singers from the Democratic Republic of Congo to play traditional likembe (thumb piano) music in the streets. They soon discovered, though, that they needed amplification to be heard and -- this is where the story of this album really begins -- they took a DIY and utilitarian approach by building their own amplification systems out of junked car parts, magnets, and other flotsam. Once assembled, the system produced a huge hum that Konono No. 1 embraced as part of the sound of the group. At the center of everything were three amped-up thumb pianos tuned to three different registers, and coupled with all manner of pots, pans, whistles, and brake drum snares for percussion and with the vocals blasting through megaphones, all embedded in the huge buzz and hum of the homemade PA system, the group accidentally created a sound that was at once both ancient and traditional and yet eerily akin to experimental 21st century electronica. Congotronics is Konono's second album (the first was a live outing entitled Lubuaku), and while it was ostensibly recorded in a studio setting, it sounds wonderfully live and immediate, as if the dozen members of the group were standing on a busy street corner like some Congolese version of a second-line Mardi Gras band, only with thumb pianos instead of horns. Musical themes emerge and reemerge in the various tracks, and what sounds initially chaotic and random is revealed to be nothing of the sort, giving the whole album the feel of a ragged, joyous suite. Part traditional, part African rhumba, part smart avant-garde electronica, Congotronics is the sound of an urban junkyard band simultaneously weaving the past and the future into one amazingly coherent structure, and not only that, you can dance to it. This is the band Tom Waits has been looking for all his life.

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