Look, I’m not going to pretend to have the ethnomusicology background necessary to really decode this on its own terms and accurately explain it to you people. That’s kind of the point, though—quite unexpectedly, Burkina Electric is decidedly outside my comfort zone.
New York percussionist Lukas Ligeti is the son of noted Austrian composer and perennial Kubrick fave György Ligeti. In 2000, he began working with Maï Lingani, a popular singer from Burkina Faso, by producing her debut album. A few years later, the pair decided to call it a collaborative project and pad it out into a quartet; the first album with the new format came out in 2006
At first, Rêem Tekré came across as the sort of alien folk tradition that just served to remind me how little I know about music in the grand scheme of things. Everyone needs a little worldly education every now and again, but eventually I found Ligeti’s incorporation of Western drums and electronics really unsettling. I’m generally pretty comfortable with both, but here they are entirely inconvenient because they make it impossible to just file the songs under a catch-all term like “World Music” and think myself more educated for the listening. As it turns out, there are people using those same tools in the parts of the world we generally don’t bother with. Oops.
I’ll let you define your own philosophical ramifications for this one. Personally, I just come back to it periodically to see if I’m comfortable yet; no luck so far, but I’m still glad to hear sequenced drums that aren’t accompanied by a filter sweep.
// Moving Pixels
"the static speaks my name creates an uncomfortable intimacy between the player and the protagonist.READ the article