Antibalas Security Label: ANTI- Release Date:03/06/2007

The new Antibalas album, “Security,” opens with “Beaten Metal,” a title that describes the crystalline clanks and clacks that distinguish the percussion.  In just under six minutes the track builds into something undeniably propulsive and funky, but there is a tension, as sinister keyboard lines slither in and out, casting a pall.  The horn bursts seem a little more atonal than one might expect, as they seem to argue against each other more than strut in unison.

Some of the distinctness of Antibalas’ sound may be due to their decision to collaborate with producer John McEntire, known for his work with sonically innovative bands such as Stereolab and Tortoise.  To their credit, Antibalas on this album does not sound like just one of the finest modern Afrobeat ensembles, but also as an utterly contemporary band that still pays due respect to the creations of Fela Kuti and Tony Allen in the 70s.

“Filibuster X” and “Sanctuary” most strongly recall Fela’s compositions.  They are over ten minutes, going through distinctive phases above the foundation groove.  In the second half, vocals come in, preached and chanted as much as sung, and very blatantly critical of current American leaders.  Though these tracks can’t help but evoke a voice of the past, it is a reminder that, among other things, Afrobeat is a music of potent rage that is not confined to a time or continent.  It is a valid idiom, and an underexplored one in this country.  Afrobeat is one of the few genres we have never suffered from too much of.

A track like “Hilo,” however, does not sound retro at all.  If it recalls anything, it is Damon Albarn’s experiments with blending rock with dub and African music in projects like Gorillaz and The Good, The Bad, and The Queen.  Not that it sounds like Albarn, but it accomplishes something similar in being a moody, foreboding work in which the texture and production create a feel that is unexpected, unsettling and certainly not traditional.  “War Hero” is a more conventional Afrobeat composition, pulse pounding percussion and chickenscratch guitars propelling it, but the album at this point has stretched the ears enough to perceive a number of strange production tweaks and instrumental sounds flavoring it.

Half of “I.C.E.” is a hypnotically morose Afrobeat vamp, but then it breaks down into a pristine beatless conclusion sounding like a requiem or dirge section.  The beautifully somber mood continues in “Age,” which concludes the album with restrained downtempo percussion, gently whining organ, and perfectly downtrodden horn harmonies leaving an impression of sadness that is hard to shake. 

“Security” is a remarkably tight, funky album, as is to be expected from Antibalas, but what is unexpected is how troubling it actually is.  Alternating progressive Afrobeat jams with more experimental, frightening material, Antibalas has to a large extent acheived what Trans Am attempted in a more didactic way on “Liberation,” that is to create a modern protest album through music.  Even though only a few songs have vocals, the entire album creates an impression that is unmistakably of the world today.  The “Security” of the title is a feared villian, imposing terror on a personal level and worsening a precarious global state.  The ultimate impression is one of sadness, anger, uncertainty and fear.  This is a masterful contemporary American Afrobeat record.

Antibalas - I.C.E.

This entry was posted on Monday, March 12th, 2007 at 4:27 pm and is filed under CD/LP. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.