Gotan project

...continued from front page

Blend together a traditional tango ensemble: piano, violas, cello, guitar and bandoneon accordion led by Eduardo Makaroff. Mingle with the samples and turntable scratch of Philippe Cohen Solal and Christoph Mueller. Float the soaring vocals of Cristina Vilallonga over the top.

Thoroughly drench your creation in lush video imagery. Drink deep.

Warning: excess consumption of Gotan Project may lead to spontaneous outbreaks of mass dancing.

Find out more...

Home

Superior blues excursion

...continued from front page

From the first slide notes of the first track Layin' The Rails, Andersson establishes firmly that his reputation is built on fact rather than hype. Tasty and restrained slide work dominates the track.

The real surprise is that Andersson has a nice seen-it-all gritty mid-range blues voice, with the ability to deliver a line and pull you into the story of the song. The lyrics make it an odd mix. From words like “Tennant Creek” and “Oodnadatta” we know we are on an Australian rail-laying team, but the accent and style make it sound like an American rail-drivin' song. This kind of cross-cultural mix, reminiscent of the earlier days of Australian rock and blues, is evident on several tracks. No matter, it still works.

The programmed drum tracks are jarring at first. On such a blues-laden recording, one almost expects the inimitable warmth of a real drummer with real feel. That being said, the drum tracks are tastefully done, wisely downplayed, minimal and unobtrusive. Although the album is competently recorded, it doesn't have the sheen and warmth of a top studio album, which is a pity because Andersson's performance deserves better.

The second track shows a wider range, with a touch of Steely Dan in the sophisticated chordal structure, and a biting satire on the current parlous state of television. It's nicely set off with some well-judged sax work from Jimmy Sloggett.

Tracks are generally uncluttered, going for groove and the odd tasty lick. These are blues ballads, providing a setting for the lyric rather than extended solos (though there are one or two very nice keyboard excursions). The third track Strangers Hands features some sprightly Hammond work from Andy Cowan.

It should be noted that Andersson is not just a singer/guitarist. He plays not just banjo, mandolin and bass, but also has a nice harmonica style, and even makes the odd excursion on flute.

It would be nice to hear more from this acerbic, knowing performer. He deserves top-notch production, real drums and above all a wider audience.

Home