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Saturday,
April, 19,
2008

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Zap Mama - Supermoon

It can’t be said for many artists that they utterly, truly cross boundaries, but with Zap Mama, this old cliché can be proudly stated without fear of contradiction, or fear of relying upon the greatest promotional fable of them all

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The ladies and gentlemen at her record company must be very happy peeps, indeed…

There are moments in the album that can be clumsily termed ‘world music’ (surely everything is world music and this is another nonsense genre category?!). Then, the emphasis is casually switched to traditional pop, which is highlighted in the title track, ‘Supermoon’. This is simply the work of a collective that has their eyes and ears open to different cultures and different means in which to express. The allure is clearly all too much, and so other artists have added their own flavour and expertise into this wonderful cauldron of sound. Extensions to the Zap Mama family include David Gilmore, Michael Franti, drummer Tony Allen, and pianist Daniel Freiberg.

Perhaps it is a little too easy to rely upon another fable when it comes to explaining the essence of this interesting act. With a singer that is clearly a powerful and sexual female, and has devoted her time to equality and world charities, it should only be expected that her singing will be powerful, sensual, organic, and an amalgamation / interpretation of what she feels as feminine. Marie Daulne is a mix of races, thoughts and expressions, and her singing and writing falls naturally along those lines, too.

The palette of the Zap Mama collective is full and diverse. The band executes each song with vibrancy, laying down large strokes of the spectrum, so listeners can appreciate and celebrate. Echoes of native pasts are weaved into the fabric of their colourful patchwork, causing corporate giants to pull confused expressions, the media ask cliché questions, and the panties and wallets of coffee shop proprietors twitch with a deep longing. People will either be too quick to explain away the Zap Mama sound as a afro-hippie sound, ask what it was like to return ‘to the roots’, or catch it, clip its wings and wrap it up in an expensive box and display next to the Mocha ingredients. Others that have more sense will see it as a powerful reflection of the musicians involved, and keep it free and loved.



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