DC's Elikeh released their latest album at the end of August, but I was too busy to review it the week of its release for the Washington City Paper. But its worthy of attention, so here goes (who cares about release dates anyway):
The title of Elikeh’s third album, “Between 2 Worlds”
explains the situation of this DC outfit’s Togo-born leader, as well as their
musical approach. Joined by Americans on
bass, trumpet and saxophones plus a Nigerian guitarist, Benin drummer &
special guests, rhythm guitarist/songwriter Serge Massama Dogo sings in English
and Mina, and his band melds various 1970s-rooted Afropop styles with funk, rock,
and reggae. Concerned about the plight of his country, which he periodically
visits, Dogo, who wrote or co-wrote nine of the ten songs here, employs a Bob
Marley-like lyrical methodology combining critical commentary with inspirational
uplift.
“How can you lead with no vision, Mr. President,” Dogo
quickly lectures Togo’s head of state in the album opener “No Vision.” But Dogo,
a former university orchestra director, does not use a hectoring tone. Instead his folk-like melody conveys sadness
that is kept from sinking too low by the punchy Afrobeat horns, and his own leisurely,
yet upbeat rhythmic guitar. The next three compositions offer subtle
variations on this Fela meets Togo and America rhythmic style—potent brass with
high-pitched guitar on “Know Who You Are,” guest Malian guitarist Vieux Farka
Toure getting ragged on “Alonye,” and cover song “Olesafrica” adding uplifting
group harmony vocals.
Two mid-album cuts and the album closer suggest Dogo also
enjoys listening to American acoustic
coffeehouse strummers. “Fly to the Sky”
urges listeners to “fly to the rainbow” without sounding too saccharine and
“Foot Soldier” urges listeners to “fight for the future, become a soldier for
the revolution.” Cliched maybe, but the laid-back yet memorable tunefulness of
his vocals makes it work, if less successfully than the more upbeat
numbers.
“Eh Wee” and its faster polyrhythms, and “Let Them Talk”
with its noisy horn solos return the group to its musical bread and butter. This is where the group sounds most
lively. While teenagers from Togo and
the African diaspora might prefer programmed African club beats and find this
quaint, its tight and dynamic variation on many decades old styles feels void
of dust and spiderwebs. “Nye’n Mind Na Wo” adds to the classic afropop
repertoire with pretty, sparkling Malian kora underneath vocals and
Santana-esque axework from Dark Star Orchestra’s John Kadlecik.
Dogo’s influences from both sides of the pond may be retro but they
rarely sound old-fashioned here.
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