Boomkat Product Review:
William Bennett reloads his battery of djembes, doundouns, ksing-ksing and synths for an outstanding 2nd album under the Cut Hands coat of arms.
Unless you've entered your nuclear bunker way ahead of schedule, you can't fail to have noticed the clamour of attention around this project - from the delirious voodoo of 'Afro Noise I' to the incredibly compelling live-shows - and, if you're owt like us, you've probably played the records to death; so we'd imagine this album is already at the top of your wishlist. We can report that there are no major changes to the setup, but there is more attention given to tonal layering and near-cinematic arrangement this time.
Across its twelve tracks he expands and contracts between atmospheric drone catharsis and percussive meditation with a more considered ebb and flow: 'Witness The Spread Of The Dream' opens with a spellbinding monologue by Mimsy DeBlois (who's also responsible for Cut Hands' definitive Vévé artwork) before the recent Blackest Ever Black invocation 'Black Mamba' and a beaten version of 'Krokodilo' take place.
Next, the diffuse, dissonant shading of 'Nzambi Ia Ngonde' sets a more subtle tone for the rest of the album, oscillating from the swaggering polyrhythmic pressure of 'No Spare No Soul' to the miniature orchestration of 'El Palo Mayombe', thru the thunderous 'Kongo' and 'Brown-Brown' - our favourite cut from the Vol.1 LP, now included on CD for the first time - to the glowering metallic ambient scree of 'Nzambi Ia Muini' and the lingering swoon of 'Nine-Nights''s arcane tech-step swerve to close. Highly recommended!