In 1999, Malawaian vocalist and drummer Esau Mwamwaya relocated to the Clapton section of London, England. He'd played drums in various bands such as Masaka Band in the East African country's capital, Lilongwe; he left after legendary musician, Evison Matafale (whom he'd played with) died while in police custody. He opened a second-hand furniture store to make his living, singing all the while with the radio and his own hand-drumming on various objects. His shop was located on the same street as savvy London DJ crew Radioclit's studio. In 2008, they joined forces and delivered a free, all-killer-no filler, 14-track internet mixtape with the humorous and gauntlet-throwing title (take that Damon Albarn!) Esau Mwamwaya and Radioclit are the Very Best. The set included a slew of originals and covers of tunes by the Beatles, Vampire Weekend, and M.I.A.. The collection received very positive reviews and was posted on blogs all over the world.
Thankfully, this little experiment proved to be the origin of an ongoing concern which is now monikered the Very Best, and Warm Heart of Africa on the Green Owl imprint is their second offering. To get the obvious out of the way first, both M.I.A and VW's Ezra Koenig are present here, either as a thank you or as goodwill paybacks for their inclusion on Esau Mwamwaya and Radioclit are the Very Best. Despite Radioclit being a very streetwise crew, the music here adheres far more to the musical traditions of Mwamwaya's homeland. Modern dubtronics meet gorgeous folk and Malawian pop melodies with layers of organic-sounding percussion in loops, stringed instruments, vocal choruses, and of course stacked keyboards, all offering more backdrop support than actual foreground force. The title track featuring Koenig is the clear winner, but "Julia," with its shimmering multi-voiced choruses, is a close second. The peppery dance number "Mfumu" is another standout for its sheer exuberance and transcendence, as is the skittering, jittering, synthetic, and organic percussion-meets-chant-meets-dubstep "Kada Manja" inside a popular yet age-old folk melody. Ultimately, this set proves that the debut was no fluke, and this genre-bending meld of street traditions both East and West is capable of appealing to anyone with blood instead of sawdust in her/his veins.