Local Flavor: The No-Nation Orchestra

Thus far, local music hasn't been much of a focus on Chewing Gum for the Ears, but when I find something special so close to home, I'm not exactly one to keep it to myself. The No-Nation Orchestra, led by multi-instrumentalist and songwriter Stephen Chai, is one group in the SLC area reminding me of the talent and creativity abundant here if you're simply willing to look around a bit.

Chai has been involved in a handful of bands over the past few years, but none more exciting than this latest project, which finds him leading a skillful quartet that blends elements of Afrobeat and Latin jazz with a melodic pop approach. The band's upcoming debut EP, entitled More More More, is set to drop later this month and serves as a convincing introduction to the excellence of the No-Nation Orchestra.

On the opener/title track (which you can hear below) Chai floats his soulful falsetto over groovy, complex rhythms and killer horn riffs, while "Holy Holy" throws in a flashy piano line and an almost sinister vocal melody you'll find difficult to get out of your head. If I had to pick, I'd say the incendiary "Find Me The Savory Sound" is my current favorite -- but that's like to change tomorrow as each of the EP's five tracks have only gotten better with every spin.

Whether you're looking for the best of what Salt Lake City has to offer or perusing the web for a genuinely inspired new band, Stephen Chai & The No-Nation Orchestra is a must-listen. Hear the single below and check out the band's homepage for pre-orders. Also, if you're a local, make sure to catch them at Urban Lounge on September 23rd for the album release show.


http://nonationorchestra.com/

New and Notable: jj

Sporting a difficult-to-google name and shrouded in mystery, jj is still managing to make some waves around the 'Net with their low-impact electro-rock. Connected to Swedish label Sincerely Yours, jj has been the subject of some speculation regarding the artists behind the moniker (is it really Tough Alliance? - could be) though no official word has been written thus far - the creators apparently wanting the music to speak for itself. And that it does; the group's new album, jj n° 2, is brief (only 27 minutes long) but more than makes up it in engaging music ranging from club-ready, slow-dance jams ("Ecstasy") to acoustic ballads ("Are You Still In Vallda?") and everything in between in only nine tracks. The songs are consistently great, with especial attention to detail and a knack for pop hooks manifested in the shimmering beats and soothing female vocals.

Much of jj n° 2 has a kind of understated world music sound, like the two strong opening tracks, "Things Will Never Be the Same Again" and my favorite, "From Africa to Málaga," both featuring exotic synthetic percussion and subtle electronic layers behind angelic vocals sharing simple, but enjoyable, stories of romance and heartbreak. Throw in some acoustic guitar and soaring string arrangements and you have the recipe for a successful, attention-grabbing record that might even bring these people out of hiding eventually. Until then, anonymity is fine when the music is this excellent.

To get a preview, head over to Pitchfork to hear "Ecstasy"

Review: Amadou & Mariam - Welcome to Mali (* * * * 1/2)

I tried to ignore this album but it found me just the same, and I can’t describe how glad I am that it did. It’s not that I actively avoided listening to it, but even with the stellar reviews pouring in last year, I never took the time to track it down and give it a chance. Fortunately, Welcome to Mali was just recently released in the U.S. and a couple weeks ago, a copy showed up in my mailbox. The time for ignorance was past. After about four minutes with the record, I had instantly fallen in love with these unlikely rock stars, Amadou & Mariam, the fifty-year-old blind couple from Mali. No, it’s not a gimmick, these two are making inspiring and legitimately fantastic music, combining influences from around the world in an amalgamation of all that’s exciting about rock, blues, soul, and pop.

Mariam’s warm and kind, yet strong and stern, voice takes the lead on about half of the cuts on Welcome to Mali, while her husband’s smooth, earnest vocals are more prominent on the rest, though the two musicians both contribute significantly to each track. Opener “Sabali” caught Pitchfork’s attention last year and was listed as number 15 on their top tracks of 2008, and for good reason. Mariam’s voice glides smoothly over layers of keyboards and drum machine in a retro-pop-meets-Afro-pop moment that is both surprising and magical. It’s the first of many genuinely awe-inspiring songs packed into the duo’s fifth disc, though it also stands out distinctly from the rest in terms of style.

Although the album’s fifteen songs explore so much territory and feature a generous amount of studio production, much of the record still feels tied directly to the couple’s traditional roots. Songs like “Magossa,” and “Djuru,” both Mariam’s, sound grounded and relatively simple, and it’s her half of record that holds more tightly to a generally familiar Afropop style which the producers dress up fashionably. A few tracks, like the funky “Unissons Nous,” a collaboration with blues singer/songwriter Keziah Jones, blend Mariam’s traditionalism with blues and soul influences for especially impressive results. Her appeal lies in her sincere delivery and overall sweetness that make her songs so easy to love and enjoy.

Amadou’s songs more frequently feature the stylish genre blends that help give the record such a universal appeal. In addition to singing, he contributes his stellar guitar skills throughout the record, claiming influences like Led Zeppelin and Deep Purple. His love of rock ‘n’ roll comes through loud and clear on most of his material, especially the incendiary “Masiteladi” and the poppy, infectious “Compagnon De Lavie,” the former of which more prominently feature his signature guitar work. Elsewhere, he explores funk and soul on “Africa” (featuring guest rapper K’Naan), classic rock on “Bozos,” and expansive chamber-pop on the English-language track “I Follow You.” With a team of talented musicians to back him up, Amadou confidently blazes through each track with flair.

The couple’s willingness to embrace a wealth of seemingly incongruent ideas and explore new musical possibilities makes the album fascinating, but it’s their ability to reign in those influences with such apparent ease and confidence that takes the music to another level. The songs can occasionally feel weighed down under too much production, but the beautiful melodies and emotive vocals create something special in each song, a remarkable accomplishment for any musician. Though the duo sings primarily in French and Bambara, the music itself is so expressive it never matters much that you can’t understand what’s being said. Welcome to Mali is a superb album, illuminating, uplifting, and truly special.
Last Word: Amadou & Mariam return with their inspired and inspiring fifth record, a fantastic blend of influences gathered from around the World and presented with style and sincerity.

Download Yonlu's "I Know What It's Like"

I might be a little late on this one, as The Fader has had this download available for a while now, but I thought it would be important to share. Yoñlu is the Internet screen name for teenage songwriter Vinicius Gageiro Marques, whose debut album, A Society in Which No Tear is Shed is Inconcievably Mediocre, will be released on April 14th. You can download a song from the upcoming record, entitled "I Know What's It's Like," below.

I Know What It's Like (Zipped MP3)

The background behind the writing and releasing of this record is quite a story, and I'll let the following quote from TheFader.com do the explaining:

"Teenage Brazilian songwriter Yoñlu aka Vinicius Gageiro Marques is about to release his debut album A society in which no tear is shed… on Luaka Bop in April, and it is full of quietly epic little pop songs like this one. He follows pretty directly in the footsteps of legends like Gilberto Gil and Caetano Veloso with softly sung and strummed odes to life, but the context is entirely flipped from what we all expect from Brazilian artists — carefree and convivial and just looking for the next good time. Yoñlu took his own life at the age of sixteen and these songs are the ones his parents found in his absence. That shouldn't take away from the beauty of some of his work, only that there will never be more of it."