In the mystical village of Kolomwe, back in ’96, a prophecy was whispered through the lips of the local sangoma to a young lad named Waina Kolomwe. Fast forward to today, and that prophecy has metamorphosed into reality with the arrival of Zangoma‘s latest opus, Faka Mulilo. This album isn’t just a collection of songs; it’s a cultural renaissance, a bridge between the Zamrock of yesteryear and the vibrant, eclectic sounds of today’s rock landscape, all coming from the unexpectedly fertile rock scene of Tampere, Finland.
Let’s dive into Waina’s sonic journey, shall we? The album kicks off with Chimbilimbili, a perky opener that’s like a handshake with the listener, welcoming us into Zangoma’s world with a friendly nod but without revealing the depths of their Zamrock soul. It’s a teaser, a taste of what’s to come, but not quite the full meal.
Then there’s Small Talk, which has an undeniable Red Hot Chili Peppers vibe, where Waina Kolomwe’s soulful voice melds with Ville Salonen‘s percussive funk rock guitar noodlings. It’s like watching a fusion dance, where the traditional meets the modern, creating something entirely fresh yet oh-so-familiar.
But it’s with the third track where Zangoma truly unfurls their Zamrock banner. Here, the influence of The Isley Brothers seeps into the guitar work, painting a vivid picture of what Zamrock can be in this new era. It’s a revelation, a moment where the prophecy starts to make sense.
Storyteller follows, a laid-back piece that lives up to its name. Kolomwe’s voice, reminiscent of Lenny Kravitz at his sweetest, floats over a Hendrixy wooze, telling tales that resonate with a universal charm. It’s storytelling at its finest, wrapped in a musical embrace that’s both comforting and captivating.
Next up is Picture of Hope, which introduces a slightly more aggressive tone, with jagged guitar lines that mirror the ecological anger in the lyrics. This track feels like it’s reaching out to modern rock audiences, offering them a slice of Zamrock with a contemporary twist. It’s the bridge, the crossover appeal that might just bring new fans into the fold.
Similarly Anticannibals, which features rapper Beimaan, adds a progressive twist to the album. This psych soul slice has a lovely Doors-ish guitar solo to close it out, appealing to ears that seek more than just the garden variety rock. It’s an adventurous detour that pays off.
Then comes Party Freak, the album’s pièce de résistance. This track is a beautifully constructed piece of space rock infused with heavy seventies funky metal vibes. Waina’s commanding lead vocal here is what we’ve been waiting for, a true embodiment of the prophecy’s promise. This is what we want, what we need – Zamrock reborn in all its glory.
ZOMBI lightens the mood but doesn’t lose the rock. It’s got this late seventies NYC vibe, a riff that’s part Zamrock, part art punk, and it works wonderfully. It’s like Zangoma is saying, “Yes, we can blend, and yes, we can rock.”
Finally, Ekosulile wraps up the album with a jazzy, sophisticated touch, almost a counterpart to the opener. With slinky grooves and saxophones, it’s a sophisticated exit, not with a bang but with a smooth, knowing nod. Good stuff, indeed, but after Party Freak, it’s more of a gentle descent than the climactic end one might expect.
Zangoma, with Faka Mulilo, have not just fulfilled a prophecy; they’ve expanded it. They’ve taken the essence of Zamrock, with its rich fusion of African rhythms and rock’s rebellious spirit, and brought it into a new era, proving that music, like prophecy, transcends time. Bravo, Zangoma, for this isn’t just an album; it’s a legacy reborn, a journey through time, and a celebration of cultural fusion. And I’m here for it.
Faka Mulilo releases on January 31st.
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