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"With Buraka we would start with a rhythm or a beat, but my songs are built with melodies and loops as the starting point. His solo material is not a 180 turn from the Buraka sound, but it's a freer approach to electronic music. As a diagnosed workaholic, when Branko is not touring or in the studio with Buraka, he's either scouting for new music for his Enchufada label or making beats by himself. The Lisbon group released their debut album 'Black Diamond' in November 2008 to rave reviews and acclaim from a who's who of relevant producers, and continued to make waves with sophomore album "Komba" in 2011.
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But even if you don't have the language skills to get their full story, Buraka Som Sistema are worth your time: Black Diamond is one of the fiercest dance records in recent memory.Branko (formerly J-Wow) is the driving force and one of the main producers in Buraka Som Sistema. As a sop to tourists like me, DJ Lil John has talked in interviews about how the band treat the voice as a percussive instrument, and it's an approach that works, with Kano's anglophone guest spot on "Skank & Move" an unwelcome spell-breaker. Then again, not speaking Portuguese means I can't get the political references which are a big part of kuduro's Angolan appeal. "General" is a good example of the group's more playful and atmospheric side, which emerges again when the tempo drops on the two-part "New Africas": their rumbling drum patterns show that the group's electro-world fusions survive a change in pace, but the somewhat mystical voiceover is an uneasy fit with the rest of the record's sharpness. Which in turn breaks down into what sounds like Portuguese folk music played on a crackly radio, a tune that becomes the digitally-tweaked basis for "General"- a song that halfway through bursts into a gloriously goofy ringtone melody. A song like "IC19" spends a while groping for a viable rhythm before rattling off on a chassis built from old school rave, dodging blasts of electro like oncoming traffic, before suddenly switching into the trancier, dirtier "Tiroza".
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New riffs, bleeps and blurts constantly intrude, upsetting a tune's direction: the transitions between tracks are more like collisions.
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Opener "Luanda/Lisboa" starts with a keyboard throb that sounds like a generator powering up to the band can get enough juice to even play, and what's so attractive about the album is its constant flirtation with collapse- everything's so furious, so quick-changing, so ramshackle that its tracks sound half-improvised. team-up "Sound of Kuduro" sets the tone for highlights "Aqui Para Voces" and "Kalemba (Wegue Wegue)", which are less chaotic but even more exhilarating. The first few tracks are both introduction and pummeling workout- the frantic M.I.A. Soca's perpetual chirpiness makes it an acquired taste, but there's no denying its kinetic power, and blended with Buraka's harder beats and harsher sounds it becomes a fearsome engine for their music. But their rhythmic template is more often the relentless bounce of soca. Buraka Som Sistema tracks often have the marvelous thickness of early jungle, that sense of pushing through electronic thickets, senses on hyper-alert. Kuduro is a pun on Angola slang for "hard ass"- much of Black Diamond takes this as an operating principle. The Buraka sound has been picked up by global tastemakers like Diplo and M.I.A., and debut album Black Diamond gives the crew an opportunity to show how kuduro works at fuller stretch- and whether it can survive outside its specific locality. It was born in the Angolan capital Luanda and quickly jumped along post-colonial transmission lines to Lisbon, home of Buraka Som Sistema. Kuduro, which mixes rai and soca rhythms with local MCing and salvaged electronics, is the product of the same kind of environment and pressure that produced baile funk in Rio and kwaito in South Africa- musics which make good touchpoints for kuduro's breakneck appeal. Buraka Som Sistema play kuduro, an Angolan take on dance music that's an example of what British critic Matt Ingram calls "Shanty House": urbanized, globalized street and club music splicing hip-hop and rave DNA with local mutations to create dynamic pidgin sounds.