Album Review// Gogol Bordello – 'Pura Vida Conspiracy'
The writer and broadcaster Stuart Maconie, musing upon artistic criticism in his memoir Cider
With Roadies, offered bands this piece of advice on dealing with criticism; “don't
read your
press, weigh
it”. It'd be interesting to hear Eugene Hutz's opinion of such an attitude. If you've heard of Gogol Bordello or their frontman recently, it's less likely to do with the release of their sixth album than the lawsuit filed against Hutz by the group's guitarist Oren Kaplan, accusing him of various fiscal misadventures including “brazenly absconding” with $500,000 since taking over the group's finances. Were it not for the depressing severity of the accusations, it would be tempting to consider it another desperate attempt to drum up publicity; the timing certainly couldn't have been any worse (or better, if you subscribe to the soul-abradingly cynical viewpoint), breaking in the same week Pura
Vida Conspiracy was
released.
I'm expending so many words talking about this tawdry tale, not to avoid discussing the music, but to highlight the sadness at the heart of the matter: this album shouldn't be overshadowed by such a downright nasty issue.
Pura Vida
Conspiracy has all the hallmarks of Gogol Bordello albums past; mutated gypsy-punk beats, a concoction of Balkan folk and American garage rock that is equal parts hackneyed and thrilling, the kind of nonsensical lyrics that will intrigue and infuriate in equal measure, and above all, a seemingly inexhaustible fountain of energy. If you weren't a fan of their earlier albums, PVC
is unlikely to convince you otherwise; if you already liked their work, you
won't come away
disappointed.
Opener 'We Rise Again' is one
of the strongest tracks on the album, with Hutz exclaiming “Whoo-pa!”
every time the title rolls round, a circus-act call to arms built around a
tumbling downwards chord progression. It wouldn't be true to say the energy
level never drops from that point, but it is expertly managed – a track like
'Malandrino' showcases such skill perfectly, building from a loose, low-key
prologue to a magnificent, mariachi-hued climax. There's a distinct tone of
doom in these tracks, exemplified on 'Lost Innocent World', where Hutz
proclaims “Lost innocent world/Lost innocent paradise/Where did you go?”.
Of course, Gogol Bordello just
wouldn't be Gogol Bordello if they weren't doing things that occasionally
challenged the patience of most listeners. The gypsy-ska of 'Rainbow' is a bit
of a chore, and gives the album a hefty bit of drag, whilst on 'I Just
Realized', Hutz's vocal tics go from eccentric to annoying (not helped by
dafter than usual lyrics like “Is it because I am Russian/Is it because you
are not?”).
Thankfully, the glorious 'Gypsy Auto Pilot' blasts away cobwebs
and doubts alike in a burst of skirling violins and stomping beats, along with
an excellent brief pastiche of Iron Maiden in the middle eight; if that weren't
enough, following track 'Hieroglyph' is worth listening to for Hutz's
pronunciation of the title, never mind its great melding of Levantine melodic
patterns with their usual schtick. Indeed, the final third of the album is
strong enough to make up for the weaker middle section and a somewhat limp
final track, 'We Shall Sail' – perhaps the one point the album truly runs out
of energy.
Pura Vida Conspiracy isn't a perfect album, but
it's too good to be subsumed by tawdry legalities. It would be hoped that both
sides would see that, and understand that; sadly, however, one side no longer
has a horse in this particular race. Oren Kaplan does not play on the album.
'Pura Vida Conspiracy' is out
now
Reviewed by Edward Feery