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Myths of the Near Future: Part One

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Album Review

A very nice blend of percussive, bass guitar-rooted rhythms with field recordings from Africa and a variety of synthesizer and sampler tones and textures. Mo Boma are based mainly in Sweden, though this album was recorded in a number of locations including South Africa. It's a fascinating blend of world and trance music, with part of its heart in the works of J.G. Ballard. Musically, the entire album has a tendency to shift slowly and gracefully around a calm center, sliding from drifting tones to percussive sections in a remarkably seamless manner. There's a lot happening in these tracks, whether it's the percussion, the environmental sounds, or bassist Skuli Sverrisson going off on an extended jazz jaunt on "Terrace." It's an album with which you can relax the mind and body and work up some creative fire, which is no small recommendation.


Genre: World

Years Active: '90s, '00s

The duo known as Mo Boma (named after a pygmy girl's lullaby), is comprised of Carsten Tiedemann, a native of Germany, and Skuli Sverrisson, of Iceland, both of whom attended Berklee College of Music in Boston. Tiedemann's studies in classical composition structures and ethnic music traditions feature prominently in Mo Boma's style, which uses electronic music to create a ethereal, multi-textured sound that builds around Sverrisson's electric bass core. Sverrisson's own experience as a jazz bassist...
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Myths of the Near Future: Part One, Mo Boma
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