For this latest collaborative effort, Quantic partners with traditional Colombian vocalist Nidia Gongora. It’s a progressive and seamless marriage between the oral folkloric heritage of the country with Quantic’s own style. Jubilant and celebratory, it reflects all the cultural riches of the Afro-Colombian melting-pot, while reimagining and revitalising its sound.

Opener ‘E Ye Ye’ captures the album in a nutshell, inviting you in with welcoming flutes and the irresistible warmth of the marimba, a member of the xylophone family which is used across the album. Bright and sunny, it’s instantly catchy and the first of many infectious songs that you can’t help but love. This same optimism pervades most of the album, through the buoyant ‘chirimia’ style of ‘Que Me Duele’, the lusciously carefree rhythms of ‘Se Lo Vi’, and the irreverent horns of unashamed party-song ‘Un Canto A Mi Terra’.

The roots of Gongora’s vocals lie in Colombian folk singing. There’s something very pastoral in its rhythms that hark back to communal work songs. It’s clearest on two choral a-cappellas on the album: ‘Dios Promete’, a haunting call-and-repeat which also shines a light on the musical influence of Catholicism in the region; and in the relentless chant of ‘Maldita Muchacho’, which closes the album. Gongora’s style is most obvious when her voice stands alone, but these techniques are brought in throughout: her voice is harmonised, choral backdrops are used as refrains – the voice is used as a rhythmic, as well as melodic, instrument.

This is used on the more produced tracks on the album in a way that guards their organic, folksy essence. Gongora’s stated mission is to “perform songs from the indigenous and ancestral style, and recreate them through modern and dynamic sounds”. On the whole, Will “Quantic” Holland carries this out with an immaculately light touch: on moody dance track ‘Muevelo Negro’, the vocal chorus is used to complement the rolling, driving drumbeat. Likewise ‘Maria No Me Llevo’ marries Gongora’s vocals with drifting, deliberately out-of-step rhythms, revitalising and giving new relevance to a classic folk song. It’s the same story on ‘Dub El Pacifico’, a natural and modern-sounding adaptation of an old christmas song. “You have to be very careful to keep the balance”, says Gongora, “so that this music will not lose its feel and significance” – mission accomplished.

There are moments though where it really pushes the envelope: ‘Nanguita’, whose beautiful combination of marimba and strings injects vibrance and a welcome burst of vitality halfway through the album, leans more towards production and is all the better for it. Towards the end of Curao comes the surprising ‘No Soy De Valle’, where the eerie vocals are augmented with synths and a drum track that flirts with DnB. It’s a welcome foray into Quantic’s home territory, one that contributes a lot to the album’s overall breadth.

Being outwardly a pleasure to listen to, and rammed with clean and colourful instrumentation, the album is also a fascinatingly diverse piece work. It both explores and repurposes the colombian oral tradition, protecting its legacy while opening up new avenues for its use and innovation. Gongora’s vocals are powerful throughout, while Quantic’s subtle guidance is felt only rarely. This is a collaborative effort ten years in the making – it’s just a shame they hadn’t done it long ago.
Ben Noble

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