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At a time when Korean bands are globalizing, Latin pop dominates the world charts and Afrobeats invades the British rap scene, a London band that combines New Wave and New York disco with Ghanaian highlife and folk culture. Nigerian seems to be a proposal with greater potential day. The characteristic sound of Ibibio Sound Machine – a mix of styles inspired by groove, which also encompbades gospel, funk, post-punk electro and contemporary punk and contemporary R & B, as well as polyrhythms, horns and African guitars – is quite lively and luxurious for the eight outfit to continue popularity at the next level with their third album.
Eno Williams, born in London and of Nigerian descent, is a singer who plays Doko Mien in a convincing way and which convincingly transforms the disco between power-diva, the sensual singer of R & B, the avant-garde singer from a post-punk group and a pidgin. English-language spinner, while maintaining its own distinctive vocal character. What is even more impressive is the way Williams' voice cuts through the dense instrumentation, which, while amusing and fascinating, sometimes borders on the appalling cacophonism. Instead, ISM is more successful when it reduces its maximalist tendencies – on Guess, we've found a way, for example, a Scritti Politti-esque syrupy ballad adorned with shards of shiny and brilliant highlife guitars, or the superb I Will Run, Gospel vocal harmonies with science fiction synths. It is at these times that the pan-continental fusion of the group feels relaxed and elegant rather than over-excited, that the group is the most exciting – and best placed to capitalize on the new era of pop without borders.
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