London Afrobeat Collective – Humans

Hard-driving, politically-charged, rhythmic, irresistibly-danceable music; what else could be expected from a band that mixes influences from Fela Kuti, Parliament/Funkadelic, Frank Zappa, and Nile Rogers and Bernard Edwards into one exciting and uplifting musical pot? Such expectations are high, but the London Afrobeat Collective meets them with ease.

There have been a few personnel changes since Food Chain (Self Produced, 2015). Percussionist Zak Cohen has left without being replaced, Giuliano Osella is now on drums and, most noticeably, Juanita Euka has replaced Funke Adeleke on vocals, so the band has pared down slightly to a nine-piece line-up. Euka's voice has a lower range than Adekele's, but it's just as powerful, with a rough edge that gives added force to the anger to be found in many of the lyrics. Euka's vocal power is matched by that of the instrumentalists; this is a mighty band of musicians (and video evidence—see YouTube, below— suggests that the band is a superb live act as well).

The London Afrobeat Collective formed in 2009, so this release celebrates its tenth anniversary. Following the pattern of Food Chain, Humans combines politically forthright, socially aware, lyrics with powerful wall-of-sound music. All of the songs are credited as whole-band compositions and, for the most part, focus on ensemble performances—highlighted particularly on "Prime Resources," "Stop Talking" and "Tolembi" where the horns fly in unison above the punchy rhythm section. There are some strong solos, too. Taken together, this three-pronged attack of voice, ensemble and solos makes Humans one of the best of 2019's releases. 

allaboutjazz.com 

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This album goes to show the importance of context when listening to music. London Afrobeat Collective’s self-released third album ‘Humans’, embodies their live performances. The project is treated as a set list rather than an album, and that’s worth bearing in mind when listening to it.

Having been lucky enough to see them support Femi Kuti last year, the positives and negatives here are also the same as they were that night too: a tremendously upbeat album that will get you moving, but at the same time can be difficult to listen in one go, with little variety from song to song (save for Tokomona).

As a general rule, Afrobeat - a genre made famous by the legendary Fela Kuti - is a mix of jazz, funk and rock, with simple, repeatable lyrics and platitudes punctuating the instrumentation. This is a genre with a strong identity, often relying on powerful an almost God-like figure at the centre, controlling the band and audience through their lyricism and presence. Fela was well-known for this and even founded his own small pseudo-state through his charisma and sheer force of will.

London Afrobeat Collective have taken this identity, and rather than trying to change it too much have simply added to it embodying the strength of their own singer: Juanita Euka, putting female empowerment front and centre in the album (something that arguably was not Fela Kuti’s primary concern).

From the very first note of the album it’s clear what it’s geared towards: dancing and chanting back and forth with Juanita Euka more than ably assisted by the tremendous band. However, to really hear and appreciate the nuance of its parts, the project needs to be heard through a decent sound system – there is so much in the production that through small speakers, or even through decent headphones, too much of the magic will be missed.

There are some stand out songs: ‘Tolembi [We Speak]’, ‘Tokomona’, ‘Stop Talking’ and especially ‘Walk Alone’ make the album. However - much like their live set - each song melds into the other so much so tthat it’s possible to dip in and out of the project at any point and not quite know which track is playing.

In places the pieces can be slightly laboured too, with rambling sections that could easily be cut to bring song running times down. Live, this works - giving time for people to dance and become a real part of the music, building atmosphere in the room - but on an album it can feel a little self-indulgent.

Overall, though, this is a positive project. Some great musicianship with the horns particularly stand out from the mix. As the name of the band hints, it’s a homage to Afrobeat rather than progressing the genre - but this should never get in the way of having a good dance.

clashmusic.com

London Afrobeat Collective - Food Chain

25th May 2015 marks the release of 'Food Chain', the brand new album from contemporary Afrobeat trailblazers and firm festival favourites London Afrobeat Collective. Having been at the forefront of London's live music circuit and attracting a plethora of international bookings following theirself titled debut L.A.C, the 10 piece collective set out to encapsulate the energy generated during their live performances and combine this with a newlyevolved songwriting ability and refined musical prowess.

'Food Chain' is without doubt the band's best work to date, representing a new level of discipline for the group, keeping true to the original principles of the Afrobeat movement and paving the way for its future as a unique and exciting genre to be heard and enjoyed globally.

Produced by Leon Brichard (Ibibio Sound Machine, Plan B, Fela! the musical) with graphic design by prolific artist Ben Hito (George Clinton/Parliament/Funkadelic) 'Food Chain' is an album of anthemic songs with socially conscious lyrics, set to bold brass lines and hypnotic danceable grooves.

Since Michael Eavis invited London Afrobeat Collective to open the West Holts (formerly the Jazz World Stage) at Glastonbury, the band are now a highlight of the British summer music calendar having staged highly acclaimed performances at Bestival, Cheltenham Jazz Festival, Secret Garden Party, Boomtown Fair, Green Man, Standon Calling, Wilderness and many more. The group also appeared with No. 1 albumselling band Bombay Bicycle Club for main stage performances at Bestival, Latitude, Reading, Glastonbury and Brixton Academy.

Their eponymous debut album, successive single releases and remixes have been supported and endorsed by the likes of Questlove (band leader of the Roots) on 'OkayAfrica' and BBC Radio 6 Music's Craig Charles Funk and Soul show. The band have also performed live on Radio 4's 'Loose Ends' programme presented by Clive Anderson and have earned rave reviews in the national press including The Guardian and Time Out.

The band have also recently confirmed a tour of Nigeria, where they will play four shows across the country as part of the annual 'Felebration' festival.

'Food Chain' cements London Afrobeat Collective's reputation as one of the most unique and exciting bands in the UK today, having created a highly accomplished work with international flair that's culturally relevant from London to Lagos.

music-news.com 

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It's based in London, it's a collective and it plays afrobeat, a strongly rhythmic musical style associated particularly with Fela Kuti. That's the basic info. Much more importantly Food Chain, the London Afrobeat Collective's second album (there are a couple of EPs too), is a bit of a monster—full of dancefloor-filling beats, allied to politically-aware lyrics, delivered by a 10-piece group that's bursting with energy.

This mix of politicised lyrics and dance party music recalls UK bands of the '80s such as Working Week. The London Afrobeat Collective is blessed with a tight, funky, rhythm section. It's the heart of the band, beating as hard and as fast as the music demands. Indeed, most of the musicians are part of this section—bassist John Matthews, guitarists Alex Farrell and Alex Szyjanowicz, percussionist Zak Cohen, conga player Lee Crisp and drummer Farivar Gorjian form a powerful sextet.

With such a strong and savvy rhythm section in place, the horns—Andy Watts on trumpet, Edmund Swinburn and Klibens Michelet on tenor and baritone saxophones—need to be confident and assertive. Collectively and individually, they are. As a section, the trio bursts out with immediately catchy riffs: the occasional solos are crisp and melodic.

Vocalist Funke Adeleke has a strong personality and an equally strong voice. They enable her to stamp her authority on the songs, delivering the strident and direct lyrics with conviction—there's never any lack of clarity on songs like "Celebrity Culture," "I No Be Criminal" or "Prejudice"—and with a vocal power that heightens the impact of the music laid down by her bandmates.

Solos are relatively infrequent and when they do appear they're generally brief but memorable—"Say What You Mean" and "First World Problems" feature attacking guitar solos (unfortunately there's no information as to which of the guitarists gets the credit); on "Prime Minister" it's the sax players who each make an impact. But the London Afrobeat Collective isn't about lengthy solos, it's about the sheer musical power of a ten-piece band in full flight. Food Chain is the product of a band with a message—a message allied to some of the finest music for dancing one could wish to hear. 

 

allaboutjazz.com 

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Living the cloistered life that I do, Afrobeat, as a genre, hasn't clicked on my awareness gene, until now - not much call for that sort of stuff down 'wor street'.

 

Which is more the pity as it's great music to boogie to - I'm sure that if I played this on a summer's evening at full blast and opened the living room windows, the neighbours would be out in force either dancing on the Green or telling me where to go and it wouldn't be to Africa!

London Afrobeat Collective are favourites at festivals as contrasting as Glastonbury and Cheltenham.

Their music slots in easily at either.

 

I don't understand many of the words which Adeleke sings but it doesn't matter as they are anthemic songs with socially conscious lyrics which may be applicable in the current electoral climate although the album isn't released until May 25.

 

Adeleke chants almost non-stop (or so it seems) with the horns blowing power riffs over hypnotic ethnic rhythms and occasional wild solos that  hit the ozone layer with such intensity that Climate Change could be laid at their door - not to mention damage to flooring by the foot stamping their music inspires - they probably also have the secret of making rain.

 

I'm reminded in places of the Grand Union Orchestra but this is even grander!

 

Music is for everyone came through in one of the more lucid vocals and no one will argue with that - apart from, maybe, the Arts Council of GB!

 

lance-bebopspokenhere.blogspot.com 

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Afrobeat is one of the great party sounds, and in recent years in terms of UK bands best influenced by the traditions of Fela Kuti a number of outfits, chief among them, Soothsayers have set the bar high, appealing to both African music and jazz fans alike.

Joining Soothsayers in terms of quality yet delivering a slightly more orthodox approach are the London Afrobeat Collective who return five years on from the release of their self-titled debut.
Sticking close to the core Afrobeat sound in their harnessing of that pulsating vital wave of beat-heavy infectious grooving, a siren call for dancers, the Collective have made some line-up changes and now is looking like: singer Funke Adeleke, a forceful presence who also provides most of the socially and politically-charged lyrics plus guitarists Alex Farrell and Alex Szyjanowicz, trumpeter Andy Watts, saxophonists Edmund Swinburn and Klibens Michelet, conga player Lee Crisp, percussionist Zak Cohen, bass guitarist John Mathews and drummer Farivar Gorjian.
Food Chain is a well-recorded studio album produced by Leon Brichard from the Fontanelles bookended by ‘Celebrity Culture’ and ‘Prime Minister’ the latter which, as a single, has already received the remix treatment. A lively dancey affair which I think would be far better experienced live, the lack of development beyond the strictness of the core sound more of an issue listening on record than in a live setting. The style certainly doesn’t allow for a huge amount of improvisation beyond the set patterns and I think for jazz fans this may be a factor. However, the band display plenty of skill and joy in the execution of the collectively-written material and that’s more than enough to make this all a very satisfying listen.

marlbank.net

 

Tracklist 

01. Celebrity Culture

02. Prejudice

03. Ijo Ina (Fire Dance)

04. I No Be Criminal

05. Say What You Mean

06. First World Problems

07. Ole (Lazy)

08. Prime Minister

For Free: London Afrobeat Collective - Occupy

 
London Afrobeat Collective (LAC) is a dance music explosion that has been winning new fans across the UK scene, from funk n’ soul DJ Craig Charles, to afrobeat legend Dele Sosimi, to UK indie darlings Bombay Bicycle Club.

In 2011, Michael Eavis was so impressed by the band’s live show he personally invited the London 12-piece to perform on Glastonbury’s West Holts Stage.

It was to prove the centre-piece of a blazing summer season for LAC, as they rocked crowds from Green Man, to Secret Garden Party to Shambala and many more besides.

They even found time to hook up with North London neighbours Bombay Bicycle Club, lending their percussive beats and soaring horns to the rising indie stars’ celebrated performances at Latitude, Reading and the Other Stage at Glastonbury.

LAC’s debut album recorded with respected producer Sonny Simpson (Tony Allen, Polar Bear, Portico Quartet) showcases their potent blend of funk, roots afrobeat and psychedelic rock. The seven original tracks feature vocals from Inemo Samiama, as well as celebrated afrobeat ambassador and Egypt 80 member, Dele Sosimi.

The record has been championed by BBC6’s own Craig Charles who teamed up with LAC for an extraordinary sold out London show earlier in the year.

LAC are now working on new material and looking to break new ground and markets across the UK and beyond.

Band History

The LAC began in 2008 as a loose affiliation of more than 30 musicians from all corners of the globe who found themselves sharing nothing more than a London postcode and a love of Fela Kuti. ‘London Afrobeat Collective’ was exactly what it said on the tin.

In the months that followed, LAC rocked clubs across the capital to the songs of Cedric Im Brooks, Mongo Santamaria, Mulatu Astatke and of course Fela Kuti, winning friends and critical acclaim for the authenticity of their sound.

As gig followed gig, the LAC began to take shape as it is today. A new sound began to emerge; a groove that was unashamedly afrobeat but not afraid to embrace new influences, funk, latin, dubstep, even psychedelia. The line-up shifted until only 12 on the most ugly and battle-hardened remained.

In 2010, under the direction of band leader and rhythm guitar king Alex Farrell, LAC delivered their debut album of original material. Recorded at Livingston Studios with respected producer Sonny Simpson (Tony Allen, Polar Bear, Portico Quartet), the album (simply called ‘LAC’) was a showcase for the band’s original sound, crafted song-writing and skilled musicianship. Calling in favours from some new friends, it also featured guest vocals from Inemo Samiama, as well as celebrated afrobeat ambassador and Egypt 80 member, Dele Sosimi.

Self-financed and the result of many, many hours of hard graft, ‘LAC’ started to pay dividends when it began to reach the ears of some of most influential players on the UK music scene. Funk n’ soul DJ Craig Charles featured the record on his BBC6 radio show and teamed up with the LAC for a sold out club night in February 2011.

By April, the band found themselves in the unfamiliar surrounds of Pilton Working Men’s club, having been hand-picked from thousands of new bands to play a personal audition for Michael Eavis and friends to appear at Glastonbury. LAC rocked the club, won the day and were rewarded with a slot on the West Holts stage alongside acts such as Aloe Blacc, Cee lo Green, Big Boi and Kool and the Gang (they couldn’t do anything about the rain though).

Throughout the summer LAC were in great demand, criss-crossing the UK to delight festival audiences at Green Man, Secret Garden Party, Glastonbury, Shambala and many more. They even found time to hook up with North London neighbours Bombay Bicycle Club, lending their percussive beats and soaring horns to the rising indie stars’ celebrated performances at Latitude, Reading and the Other Stage at Glastonbury.

As summer drew to a close, LAC returned to their home town to start work on their second album. The band spend the winter writing and recording but recently found time to play sell out shows at Passing Clouds and the Hideaway to give audiences a sneak peek at the new material.

As a group, LAC are committed to the ideal that well-written, positive music can enrich society. They believe that by playing sets that get a crowd jumping, dancing and smiling, they can help to create an atmosphere where people feel good and positive about themselves and others. In a society where people so often feel alienated and unsatisfied, they feel that music is a key uniting factor.

By approaching their performances from this standpoint, LAC hope to convey a sense of unity and positivity in all their shows.

lacband.co.uk
 

GET IT HERE!!!

London Afrobeat Collective

Information

The London Afrobeat Collective is a dirty dozen of battle-hardened musicians from all corners of the globe who’ve played everywhere from Gdansk to Zanzibar, from Lagos to Los Angeles. A Molotov cocktail of blazing horns and twisted drum beats, skanking guitars and soul-deep bass, pounding rhythms and politically charged vocals for troubled times.

In 2008, fifty years after the young Fela Kuti himself came to London to further his musical education, the L.A.C. was born with a mission to bring the heavy grooves and soaring melodies of the original Black President to a new generation of music lovers.

Since 2009 the L.A.C. has been the driving force behind the new afrobeat craze sweeping through the trendy clubs of Cool London. Proud, Camden, Charlie Wright's, Hoxton, Passing Clouds and the Empowering Church, Dalston, are just some of the venues they've blown away with their frenetic, powerhouse take on afrobeat.

And it is that unique, fresh take along with the dance floor eruption it consistently creates that has won them not only a devoted fan base and critical acclaim, but also a number of influential admirers — most notably Fela Kuti's own keyboard genius and Egypt 80 band leader, Dele Sosimi, who has shared the stage with the band on a number of occasions.

2010 sees the band taking their raw, explosive sound into the studio to record their debut album, which will involve extensive collaboration with some of Nigeria's finest singers, including resident vocalist, the celebrated Inemo Samiama.

A few songs are available at myspace!!