Gang Gang Dance
Rawwar

This record left our Phil feeling happy.

Gang Gang Dance are an excellent band. Gods Money is a great album and they've obviously pricked up a few ears as they've got an EP out on double uber trendy Young Turks label. Who'd have thought that? Anyway this band sound like no one else. Trying to pigeonhole them is as pointless going out for a drink with a dead bloke. Well I suppose there may be a point to that somewhere but if there is I don't really want to know. They're very percussive.. lots of African and Jamaican rhythms all mixed up with some of the wrongest skewed sounding pop you'll hear ever. They're a one of a kind band and well worth examining.

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What their label says...

“There’s a band called Gang Gang Dance that really, really needs to be heard.” - NME

“It’s as if the group found a cassette shop in Queens selling dead-stock, early 80s African, Jamaican and Middle-Eastern music and fused it with Lizzie Bougatsos’ Kate Bush, Lizzy Mercier’s Descloux inflections, and some Raggaeton/Dancehall elements. Hopefully, it’s just a primer of what is to come.” - Soma

“Everything they do has an air of “wow, totally” to it.” - Vice

Gang Gang Dance spent the better part of 2006 writing, performing, and recording new material for the follow up to 2005’s acclaimed God’s Money. They spent time tracking at Staygold Studios in Brooklyn with Chris Coady (TV On The Radio, Yeah Yeah Yeahs, Blonde Redhead), in Louisville Kentucky with Paul Oldham (who recorded their self-titled record) and then mixing at The Social Registry’s Junkyard Audio Salvage with Matt Boynton. RAWWAR is the first glimpse of exactly what the band have been up to over this prolific year. Clocking in at just over twenty minutes and sprawled across three tracks, the release plays like a Gang Gang Dance sampler of sorts; a taster for what is to come.

RAWWAR opens with Nicoman: a live favorite from the last few years which has been refined in the studio. Bombastic and dance-oriented it blends the bands affection for musical styles, propelling the listener through the four minutes of audible tribal chaos, while at the same time demonstrating GGD’s talent for pop melody. Oxygen Demo Riddim finds the band improvising and building musical ideas into a dreamy hypnotic instrumental interlude. The final, almost cinematic, track is a studio composition entitled The Earthquake That Frees Prisoners which unfolds over ten minutes. This was painstakingly assembled in the studio and incorporates conversational dialog from their deceased band member Nathan Maddox interwoven into the bands compositional structure, providing a narrative to the music as it evolves from extemporized abstraction into a echoing anthem.

With this release GGD provide a blueprint for their musical trajectory as they skip from pop song to improvisation to abstract dense studio composition. The band are currently hard at work on their next studio full-length, but until then we give you the brief, but by no means trivial, RAWWAR.

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