Not to be confused with the vapid, homogenous and much more popular (at least among less savvy European consumers -- the same ones that probably gave David Hasselhof some caricature of a singing career) work of the Blonde Dutchwoman also named "Anouk", the Anouk of "Automatik Kalamity" is from France, of Arab descent, sings in three languages, and has concocted an original blend of dub reggae, ska and electronica that dazzles as much with its basic instrumentation as it does with originality and clever lyrics. Many Lee Perry samples, of course, but one cannot do a decent reggae album without these. And the roots-ska feel of "Dog Day Afternoon" (Un Apres-Midi De Chien) are particularly amazing. I saw a video for this song on MTV Europe in a Swiss Hotel at three in the morning, and fell in love instantly. If you like Reggae, buy it! If you think French is a romantic language, buy it! It's good music to smooch to.
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Uwe Banton est un chanteur de reggae roots d'origine allemande, que nous connaissons peu en France. Après un premier album qui l'a fait remarquer dans son pays, il se tourne vers une reconnaissance internationale. Son second album "Rightful place" en est la preuve, Uwe Banton a des choses à dire ! Et il est d'ailleurs accompagné du Tune In Crew sur son titre "Puppet Master". Un riddim créé pour donner une impression de 'live' où tous les instruments sont joués par leurs soins.
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I'd be astonished if Tahuna Breaks don't have hugely successful concerts on their current tour, and sell truckloads of this album -- because they tick every stylistic box that New Zealand audiences seem to like: you want James Brown-styled soul-funk (you've got it on Giddy Up which isn't the Katchafire song, and Funky Mama), or you want light lovers rock (here on Only You)?

There is the sentimental ballad to a beautiful daughter, some Commodores-styled funk (We Funk the Party which maybe doesn't sound quite so cool after the Flight of the Conchords) and of course dollops of reggae of various kinds (dub, old school riddums, Marley referenced on Crisis Situation). There is empowerment and sensitivity (Somebody's Daughter), late night soul (Make Out Party which also resorts to some Peter Frampton-like talking keyboards, bound to be a crowd pleaser) and concern for the environment.

This is all beautifully crafted, well written, well played and the production is excellent, thoroughly enjoyable all round in fact.
But I can't help think there is just too much of something-for-everyone here which makes the album as a whole sound calculated.

Review courtesy of Graham Reid from Elsewhere

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