Posted on 09/18/2009
Even though Lisbon-based Cacique ’97 describes itself as an “afrobeat” collective, here the term is somewhat limiting and fails to convey the group’s ability to blend a variety of influences. To be sure, afrobeat remains the driving and unifying force throughout their album, but Brazilian and Portuguese touches allow for a more international flavor, expanding the core afrobeat sound but also highlighting the African (and sometimes afrobeat) influence already present in these other cultures. An album like Jorge Ben’s África Brasil is not ordinarily classified as afrobeat, yet some of Cacique ’97’s tracks (“Eu Quero Todo,” “Jorge De Capadócia”) would hardly sound out of place in that context. Other songs nod towards hip-hop and dub, further opening one’s mind to the global potential of afrobeat, simultaneously suggesting multiple facets of African music’s history while hinting at possible futures. Afrobeat seems to be more popular than ever, yet it is not always the case that artists are able to successfully internalize and personalize it to the extent of Cacique ’97.

Even so, one of the more memorable tracks is a relatively straightforward history lesson and statement of purpose regarding afrobeat. Rhythmically propulsive and atmospheric, “Come from Nigeria” sells the genre on the basis of feeling and movement well before the lyrics verbalize its ability to resonate with all African-derived music everywhere. The remainder of the album feels like an exploration of this idea, and so the track is also something of a centerpiece. It is worth noting that the artist most commonly associated with afrobeat, Fela Kuti, is often thought of as having a certain rough quality to his sound, a rawness that contributes to its intensity. Cacique ’97 are not lacking in intensity, but they can sound a bit more polished and slick, to the point that the dance potential of a song like “Come from Nigeria” is as up front as its political, historical, and social relevancy.

Other tracks of note include “Dragão,” maybe the coolest Bruce Lee tribute since Underground Resistance: “…we’re paying tribute to the only one that can kick your ass with style, and you will love it.” Closer “Kodé” is relaxed and meditative but still subtly funky, incorporating kalimba and Iberian guitar (or a guitar-like instrument) with the ever-present horns and a melancholic vocal. There are dimensions present one would not normally associate with afrobeat, which is also what makes the album interesting as a whole.

- Justin Deremo