Various Artists, In Bloom II World Music Produced in France
(Bureau Export de la Musique Francaise, 2002)
Putting its best foot forward, In Bloom II opens with a blistering track by Salif Keita, which sets the tone for the first of the two-disc set. Led by dueling guitars and drum rhythms so tight that it is tempting to think that parts are programmed, "Madan" features the singer in fine form, accompanied by fabulous backing vocals. The rest of the first disc continues the Afrocentric theme, shifting occasionally to a couple of upbeat Arabic tunes.
Standout cuts on the first disc are "Mama" by Diogal, a jazzy interpretation of the Afrobeat sound, and "Kami Ni Mantara" by Boum Ba Clash a smooth, techno-influenced duet with gated rhythms by DJ Click. This is also the only track on the first disc to feature female vocals in any prominent way, with a dynamite performance by Sista Scotie.
The second disc is more eclectic, and both gains and suffers for it. Beginning with more of the African sounds from the first disc, the album quickly progresses through a mix of Latin and Caribbean cuts that provide some of the most interesting moments on the album.
"Sodade" by Cesaria Evora and Bongo is a beautiful vocal track, with a melancholy reminiscent of Buena Vista Social Club in its classical guitar figures. "Anne" by Haitian Troubadours (featuring Brothers Posse) includes French language and Patois vocals, reflecting Haiti's own diverse cultural influences. The song's instrumentation - flute, guitar, percussion - combines to create a kind of stripped down, lounge take on Jamaican dance hall, mixing African, Latin and Caribbean sounds to become more than the sum of its parts.
By contrast, the following cut, "Rich Man" by Stanley Beckford, sounds like a dance hall track that has been re-orchestrated for the tiki set, though it does maintain a degree of the hip-moving relentlessness and the good humour of dance hall. Happily, though, there is only one truly disturbing instance of Global con-Fusion on the album, DuOud's unlikely duet of oud and 80s-era metal guitar, and only a few moments of "cruise ship music."
Continuing the wandering mix, we reach the Indian subcontinent with a couple of outstanding tracks, "Neem" by Thierry 'Titi' Robin & Gulabi Sapera, and "Nichapour" by Bijan Cheminari. An interesting fusion of East and West sounds reminiscent of Talvin Singh, this song breaks through with charismatic female vocals and some very interesting electric sitar sounds.
"Vide" by the Guichen Quartet provides the most sparks from the subsequent European selection, featuring some very impressive accordion melodies. It is also one of the more traditionally orchestrated tracks, with a soothing acoustic tone that, while present at points throughout the record, is generally subsumed to an "international style." This style combines both the "world music" sound of electric bass and rock drum kit, present more on the first disc, and the sound of the French studio, with its preferences for unusual instrumentation, percussion, and vocal styling. One is tempted to add " and cheesy synth sounds." This becomes particularly apparent in "El Siglo de Oro Asesino" by Spook and the Guay, which is a fast-moving piece of coffee table techno redeemed by some interesting chopped-up vocals. While this and the subsequent Catia Warneck track are the only cuts that might be considered 'electronic', the whole record resonates with a sophisticated Parisian vibe that situates it alongside such French mix discs as Claude Chabrol's Buddha Bar series and even the jazzy house music of Saint Germain.
Even as it provides a survey of the diverse world music scene in France, including songs in at least a dozen languages, In Bloom II maintains a coherent momentum and groove that invites repeated listening.
[Inigo Jones]
