Novalima's second album, 2006's Afro, was such a stunner that it was difficult to imagine how the Afro-Peruvian modernists would surpass it. And, truth be told, they haven't. Where its predecessor was rich with golden melodies, irresistible beats, and seductive vocals, Coba Coba offers fewer sparks and moments of distinction. That's not to suggest it isn't a worthy album, only that its more minimalist, harder-edged production and less global-minded reach allow for fewer sonic surprises. As before, Novalima walk through ...
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Novalima's second album, 2006's Afro, was such a stunner that it was difficult to imagine how the Afro-Peruvian modernists would surpass it. And, truth be told, they haven't. Where its predecessor was rich with golden melodies, irresistible beats, and seductive vocals, Coba Coba offers fewer sparks and moments of distinction. That's not to suggest it isn't a worthy album, only that its more minimalist, harder-edged production and less global-minded reach allow for fewer sonic surprises. As before, Novalima walk through genre walls as if they weren't there, deftly melding traditional Peruvian rhythms with more familiar Latin elements, state-of-the-art electronica, and floor-shaking dance grooves. There are new twists here, including reggae/dub, Cuban-inspired percussion, hip-hop, and funk, as well as nods to mainstream Western pop, some of it perhaps initiated by the new members who now augment the original quartet. Special guests from as far afield as New Zealand, Spain, and the U.K. also bring welcomed coloring to the proceedings. Were it just about rhythms and grooves, Coba Coba would be as successful as Afro, but vocally it's substantially less inspired. Female singer Milagros Guerrero remains a charming and captivating frontperson, lighting up tunes such as "Libertad," "Ruperta/Puede Ser," and "Camote," but there's not nearly enough of her here, and when male vocalist Juan Medrano-Cotito takes over the mike, the flame noticeably dies down. ~ Jeff Tamarkin, Rovi
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