Indigenous
Circle
Pachyderm Records
The second studio release from this burgeoning family of blues-rockers showcases frontman Mato Nanji’s stately baritone and fresh lead guitar style, which bears a keen devotion to the lessons of such masters as Stevie Ray Vaughan, Dickey Betts, and Carlos Santana. His potent blend of sumptuous blues licks and tender odes to young love rises out of a stirring menagerie of meshing congas, bongos, drums, bass, Hammond organ, and some country style acoustic strumming. With such a strong sophomore effort, Indigenous stake their claim as today’s preeminent modern blues-rock foursome. Through endless touring, they’ve been able to freely develop a sound that is uniquely their own, while other young blues acts, such as the Kenny Wayne Shepherd Band and Jonny Lang, must waste time playing up to the “blues messiah” image that has all the record execs drooling. Although all members of Indigenous are in their early twenties, the band plays with the maturity and reserve of seasoned veterans. In fact, they’ve only been touring nationally since 1997.
For the recording of Circle, Indigenous enlisted the experience of producer Doyle Bramhall, who earned his musical pedigree collaborating with the late, great Stevie Ray. Co-producing the album along with the band, Bramhall wields a light studio touch, allowing the music to stand on its own, a declaration of Indigenous’ tight knit jamming prowess. The producer was undoubtedly attracted by Mato's deep, soulful voice and intoxicating lead playing — which immediately conjures up images of the greatest Texas bluesman. This twenty-five year old member of the Nakota Nation is a selfless bandleader, not interested in dwelling in the spotlight, but rather, sliding in alongside his skillful band’s textured groove. Sister Wandbi and cousin Horse meld their percussion styles into a living blanket of pulsating rhythm, as brother Pte’s formidable bass delivers a rock edge that further molds the Indigenous sound. With the foundation set, Mato’s sly guitar brings us to our knees, recasting the original Delta blues against the vast South Dakota skies.
Throughout the album, Indigenous displays an ability to either simmer or explode with equal dexterity. The influence of Native American roots is undeniable as a frenzy of tribal percussion introduces the desperate longing of “You Were The One.” The triumphant, unbreakable rhythms provide Mato's heartbroken lyrics a shoulder to cry on. But this isn’t all “my baby left me” blues. “Remember” is a particularly hopeful number: a heartfelt tribute to a longtime lover or an old friend drifts along a rolling tide of loose licks and undulating rhythms. Circle culminates in “The Moon Is Shining," an acoustic ballad penned by Bramhall and featuring some irresistible pedal steel, slide, and celestial background vocals. Its delicate melody casts a dim, peaceful light on Mato’s wounded wanderer. Displaying superior musical command over an album’s worth of varying moods, while conveying an original twist on an age-old form, is the sign of a great band. Indigenous cracks the blues-rock mold on Circle, proving that there is so much more to rave about than just the fact that they are young and Native American.
D. Cullity
1. Little Time
2. Can’t Keep Me From You
3. You Left Me This Mornin’
4. Evolution Revolution
5. You Were The One
6. Stay With Me
7. Seven Steps Away
8. Remember
9. Rest Of My Days
10. Waiting For You
11. The Moon Is Shining