Kapa Dech
Katchume
Lusafrica, 1998
With so little pop music emerging from Mozambique, it's a wonder that a young band could produce such a sterling, skillful debut release as this. There's not much information to go on, but these guys appear to be in their early 20s. But the tightness, polish and slam-dunk arranging here suggests very seasoned musicians indeed. Guitars, percussion, drums, bass, horns, and keyboards, sometimes taking the roles of xylophones, make for a rich and varied sound. Brothers Roberto and Tony Isaias handle the lead vocals. Roberto, the better and more featured singer, has a reedy, clear tenor, strong and full of passion. Tony's gruffer, growlier voice makes a nice contrast, and most of the songs are filled out with rich choral work blending young, male and female voices.
The most impressive thing about Kapa Dech's sound is the way the songs continually transform their character. "Doropa," a song about cholera, starts out in a kind of New Orleans gospel mode before shifting to dark, accordion-driven reggae with vocals reminiscent of the South African Zulu crossover band Juluka. "Ngonani" begins in the kind of tight, layered 6/8 groove that seems to be this band's trademark. A melancholy air and crystalline guitar work compliment Roberto Isaias's soulful vocals. The song revs to high-gear 4/4 for the guitar solo and then with a few deft hi-hat swishes, the groove shifts back. "Udi Sengua," an appeal to Mozambiquan women not to be seduced by material wealth, begins in a Latin-tinged gallop, and then shifts to a hard-driving chant vocal. Nothing is ever static in these fascinating, detailed compositions. And the themes, briefly explained in liner notes, are consistently substantial and interesting--hardly a surprise, given the thoughtfulness in the playing and arranging.
There's no mistaking that these young musicians have learned well from Mozambique's preeminent roots pop band, Ghorwane. You hear many echoes of that band's deep, beautiful vibe. But these guys have also listened to much slicker music, and if they sometimes drift a bit far into a keyboard-driven fusion, they can be forgiven. The energy and spirit here more than make up for a few youthful excess. Afropop Worldwide first discovered this band on a cassette sent from a friend in Mozambique. Now that that recording has made it to CD, and to the U.S., we're eager for more.
Contributed by: Banning Eyre for www.afropop.org
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