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With its Byrds-inpired jangle, harmonized “whoah-oh”s, and overflowing nervous energy, this could very well be an unearthed recording from the liminal era between “new wave” and “alternative”.
If there is one word to describe this latest outing from Kim Salmon, with its droning rumbles, hazy distortion, and proto-punk vibe, it is “menacing”. This is an album you apologize to, maybe buy it a drink to be safe.
It’s not ska, and it’s not rocksteady, but it’s definitely Jamaican and powerfully dancy — you can call it “69 Reggae” after the year of its initial popularity.
Sure, bring your slick neon-tinged indie rock in here. I don't care that you sprinkled keyboards and saxophones all over in addition to the stabbing guitars, distressed vocals, and plucky bass. It just needs a beat we can dance to.
Opening track "Una Cumbia En Kinshasa" easily sets the stage for this transcontinental sound melange, a collaboration between Peruvian-born, Berlin-based Hop and Congolese soukous guitar player Bakorta. It's full of joy and weird production touches
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