Live and album reviews for Northeast Performer.
The Providence, Rhode Island foursome Zox has been described as "violin-laced reggae rock," but the band's latest release, Line in the Sand, takes their sound further from Rusted Root and more toward The Faint. The synthy, 80s-inspired instrumentation is professional and the production is high quality, but the sonic wall created by the interplay of guitar, bass, and electric violin occasionally grows so strong that several songs are nearly indistinguishable. Fortunately, the album is interspersed with some standout tracks capable of keeping the listener's interest.
Two of the more generic songs, "Another Attack" and "Toward Los Angeles," are catchy and danceable despite their similarity. "Another Attack" moves from snaking guitar lines to a treble-heavy interlude, fading out in barely suppressed electro-yelps. As with most Line in the Sand tracks, the lyrics are mostly forgettable, but the song has a syncopated movement that'll put your head and hips in motion. The catchy, fast-paced "Toward Los Angeles" pairs thumping drums with bright tambourine, interspersing wildly wavering strings with crunchy guitar lines and a dramatic vocal chorus.
"The Wait (part II)" pares down the band's multi-layered sound to focus on gentle waves of guitar joined by sighing strings that emphasize heartfelt, sung-spoken lyrics. One of the sleeker songs on the album, it's appealing largely because it breaks down the full force of the band's noise into its individual instrumental components, showcasing the musicians' competence.
The sweet but not saccharine single "Goodnight" features upbeat guitar riffs and a wistful violin chorus. The lyrics, "You have to leave the ground to learn to fly," offer advice that Zox should think about heeding. If the band moved out of their poppy, radio-friendly comfort zone and tried some more instrumental experimentation, they might be able to fly a little bit higherÑand create music that's challenging instead of just radio-friendly. If easy listening is your interest, though, Line in the Sand has plenty of enjoyableÑif not overwhelmingÑtracks to bob your head to. This well-crafted pop record will hit stores in January 2008.
When Mamadou Diop came out on stage at the Middle East on Friday, February 8, he was totally ready to rock. Decked out in a camouflage-safari outfit, complete with camo pants, safari vest, and pith helmet, Diop was more than prepared to lead his audience on a journey through a musical jungle of Afro-Caribbean grooves backed up by traditional West African drums. And that's just what he did, rocking the Middle East with fast drumbeats and joyful guitar chords. Diop kept the evening upbeat but not sappy, advising audience members to "stay your own self," and backing up his positive attitude with vibrant sounds.
A native of Senegal, Diop now lives in the Boston area but tours the world sharing Mamadou's wide-ranging but technically focused musical stylings. At the Middle East, the band revealed Caribbean, Spanish, and even Asian influences while maintaining a steady African beat. Band members played offset rhythms on a variety of drums, creating a richly textured mixture of rhythmic tones. Guitars and keyboard bass rounded out the band's nuanced but infectious sound. Diop and his band members sang in Wolof (an African language prevalent in Senegal), English, French, and Spanish, making for a performance that was globally focused in lyrics as well as sounds.
In addition to a regular drum kit (complete with cymbals and snares), capably manned by Mitch Cohen, Mamadou played a number of traditional African drums. Diouck handled the tama, or talking drum, a small drum that's held under the arm and made to "talk" or play various pitches by squeezing the strings of the drum. While he elicited frantic "talk" from the tama, Diouck also manned the sabar drum, a djembe-like drum native to Senegal. Mamadou also featured Michelle Cherie on djembes, Adam Zampino on keyboard bass, Pavel Jirka on lead guitar, and of course Mamadou Diop himself on electric guitar and various drums. Two guest drummers also played.
The band's enthusiasm was impressiveÑDiop moved much that his hat flew off his head a few timesÑbut couldn't quite get the crowd going. In fact, the crowd was perhaps the least pleasant aspect of this entire performance. There weren't many people in attendance, and most seemed more into their PBR tall boys than the music. Indifferent frat boys in Celtics and Red Sox hats leaned against the bar, draining and re-filling their beer glasses. Only the old folks brought the funkÑseveral former hippies now surely pushing 40 occupied most of the (mostly empty) dance floor.
Mamadou is a remarkably energetic band that makes unique music with driving beats; it's too bad the Middle East crowd wasn't up to the challenge of moving with those rhythms.