As good as it looks

If you are a vinyl collector, you will have heard this before: “No vinyl for your birthday… Chances are too high that you already have what I choose as a gift.” I understand the problem. Buying books for someone that has their walls lined with shelves of hardcover literature – difficult.

But it’s sad too. I keep wondering what I have missed as a consequence. Because sometimes someone does it anyway and shows up at your birthday party with something you might have never found yourself. Or with something that adds a new dimension to your musical preferences.

I vividly remember when I got Buscemi’s debut album “Mocha Supremo” as a present. I had no clue whatsoever. Buscemi? That can’t be a coincidence, I thought, but no, certainly not Steve, it says “Musique Belgique” on the cover. Very elegant retro style design, and it’s not unlikely that it was picked as a present because it looked so good.

It sounded just as fine. Very much compatible with the wave of late 90s lounge music, but not sounding as if trying to fit that category. It sounded like someone doing what he felt like doing, and I liked it. The name Buscemi was immediately added to my watch list. Oh, and just to clear that up: as mentioned, it’s not Steve, it’s Dirk. Dirk Swartenbroekx. Belgian guy, from a place called Hasselt. The city has a fashion museum, and looking at the Buscemi covers and the way Swartenbroekx dresses up for gigs these days, he is a true son of the city. And a fan of Steve. From what I gathered on Discogs, he is a copywriter, so we’re even colleagues.

After “Mocha Supremo”, Swartenbroekx’ music increasingly turned towards Latin styles. The names of the next two albums document this journey well: “Mocha Supremo” -> “Our Girl In Havana” -> “Camino Real”. Needless to say that I picked them up, along with a few 12″es. Not only that, they always had their place in my bag when I played at bars and restaurants.

“Camino Real” is still in there. On a good night, there is always something like a crossover Latin section, with stuff from Troubleman, Buscemi, Azymuth and others. Just like Mark Pritchard’s Troubleman project, hardly anyone knows this album and its great energy, so I sometimes even put three “Camino Real” tracks in a row, not because I am lazy but because they somehow belong together.

The title track, “Obrigado!” and “Viaje Feliz” – that’s a good fifteen minutes of House tinged Latin happiness. Swartenbroeckx has a very good hand at finding various ways to combine dancefloor functionality with South American vibes.

Sometimes the dosage leans more towards the European dancefloor – “Gadget Girls” has a noticeable French House flair, not all too memorable but simple fun, “I like it” is what we hear from a small vocal sample from time to time, and yes, we do.

At other times the Latin part is more accentuated, as in “Obrigado!”, one of the three gems on this album, featuring the vocal support of French Pop and Jazz singer Isabelle Antena. As uptempo as it may be, it’s never rushed, beautifully produced.

In his best moments, Swartenbroeckx is able to go way beyond simply throwing together musical traditions and styles. In Spanish, there is a distinction between “mixtura” and “compuesto”, between simply mixing things and combining two elements to create something new. This is a compuesto.

“Viaje Feliz” is the best example on this album, a truly amalgamated Latin House fusion rhythm with nice harmonies, a perfectly picked flute sample (courtesy of Puncho And the Latin Soul Brothers), equally well chosen vocals (sampled from Gonzaguinha’s “O Que è, O Que è”) – it’s like a happiness inducing imaginary trip to South America, excellent crossover magic.

As much as I enjoyed “Mocha Supremo” – the weaker moments on this album happen on the tracks that are closer to the beginnings of Buscemi. The fresh and uninhibited mix of styles that characterized the the first album becomes a little strained here, especially on Side 3. Whatever Swartenbroeckx saw in a collaboration with Michael Franti (formerly of Disposable Heroes Of Hiphoprisy) – it doesn’t work. Franti with his socially conscious lyrics on top of a loungy Bossa carpet, simple chords and a saxophone solo – it doesn’t clash, it doesn’t have irony, it’s just a strange disconnect.

According to Discogs, the third side is wrapped up by “Midnight Sessions”. But no, it opens 4. No idea why Discogs has different ideas about that. In a way, it would have fit the third one side though, feeling more functional than inspired. If Swartenbroeckx gets away with tracks like this it’s because of excellent production.

I don’t mind a few slightly weaker selections though. Things do pick up again with “Seaside”, once more featuring Isabelle Antena, nice and innocent, charmingly simple, and if a summer fling at the beach is a little superficial this track is just like that – in a good way.

But then we are finally happy again, brought to a smile by the title track. Nice broken beats that get jump started by claps, there’s great forward motion and a classic “Let’s Face The Music And Dance” sample, there’s a nice warm bass loop and intricate percussion – it all works really well together.

I don’t need more than three outstanding tracks to think an album is a good one. More than twenty years after initial publication, they still spread a lot of happiness. The best crowd pleasers are still the ones that have people wondering what’s being played. Three of them on four sides of vinyl is excellent.

One more thing: if you know someone that is really into music, don’t stay away from gifting vinyl. If you pick something they don’t know and they like it as much as I like this one, it’s a gift that will be remembered. And played a lot too.

Release for review:
BUSCEMI – CAMINO REAL – LABELS / DOWNSALL PLASTICS – 7243 5 83010 1 4