Review: David Byrne & St. Vincent 'Love This Giant'

DAVID BYRNE & ST. VINCENT
Love This Giant
[Todo Mundo / 4AD]

I love it when this happens. When the real thing eclipses the hype. When it's not just-as-good-as-it-says-on-the-tin, but better. Because, when does that really ever happen? Here, with hipster godfather David Byrne (that's meant as a compliment, btw) and St. Vincent aka Annie Clark, via an intriguing collaboration released in the form of debut album Love This Giant. I've said it before etc. but often the end result of these kinds of star-crossed musical meetings is less than pleasing. That is not the case here. Love This Giant is a satisfyingly engaging and enlivening listen, almost throughout. While more often (surprisingly) funky, there are times I feel I'm listening to a musical, and it's obvious why: brass. Lots of brass, and saxophones, and tubas, and such. With guests Antibalas and Sharon Jones' backing band The Dap-Kings on board though, and with some exceptional drum programming, it's one of the coolest musicals ever. But it's a David Byrne and St. Vincent record, are we surprised the musical backdrop is so, well, unexpected? Not really. What is a surprise is how well these two work together vocally, trading inter-locking lines and straight duets with Byrne's characteristically plaintive and robust wail seldom dominating St. Vincent's more gentle, ethereal touch. The analogy of the beauty and the beast has been applied by some, and the folk tale reference is apt; Love This Giant suggests Byrne and Clark have stumbled upon some twisted kind of old folk music and breathed new life into it. Wonderful.

4 stars from 5
Check out the song Who, taken from the Love This Giant album, or link to their website here. 

 

REVIEW: Chico Mann 'Analog Drift'

CHICO MANN
'Analog Drift'
[Wax Poetics]

Once in a while an album drops which surprises you, takes you to unexpected places. Analog Drift, the second solo release from jersey City-based Chico Mann, is one of those rare gems. The multi-instrumentalist, born Marcos Garcia, melds 1970s Afrobeat, soul and funk with 1980s breakbeat and electro to create a hybrid he describes as "Afro-Freestyle and Electro-Afrobeat". Stuttering handclaps, plucked guitars and vintage synths up the charm factor, but not nearly as much as Mann's simple call-and-response vocals: half choruses are effortlessly offered up in both English and Spanish, seemingly unpolished, yet entirely memorable. Mann's "dayjob" is playing guitar in New York allstar Afro outfit Antibalas and his musical family included a Father who owned a Latin record label, so it's not surprise those elements have informed the music. Throw in a little Herbie Hancock, Egyptian Lover and Quantic, and this compelling melting pot of sound takes hugely enjoyable shape.

Four and a half stars from five