Tommy T, bass player for gypsy punk conglomerate Gogol Bordello has released his freshman solo album, The Prester John Sessions. Although Prester John sounds nothing like Gogol, maybe the most significant characteristic of Gogol’s music is also the foundation upon which Tommy T builds his solo debut: importing ethnically eastern rhythms into western musical culture. Whereas Gogol is predominantly eastern-European inspired, Tommy T goes back to his own personal roots of Ethiopia and follows his guiding light from there. For someone who isnt in-tune with East African – Ethipoian musical trends, this album isn’t all that enlightening. It’s unpredictable, especially if you were expecting a Gogol-esque remix, but it’s a rather forgettable album, especially because it lacks cohesiveness. It almost sounds as though there are three separate musical trends happening on this album, with little tri-musical harmony.

Part One sounds like what Tommy purports the whole album to be: Ethiopian folk. Even to the un-trained ear, you can definitely hear Ethiopian (if not, then generally “African”) rhythms and melodies. “The Response” is by far the most ethically pure track on the album. Like honey from T’s lips, this song drips African culture. A love ballad overflowing with ache and yearning, “The Response” also provides a glimpse into another homeland, another culture, through the makings of truly beautiful music. It was the freshest sound on the album, and unfortunately, the least heard. This song stands so completely alone on the album – not just instrumentally or thematically – but as the only truly beautiful song, and it’s a shame it wasn’t expanded upon further into the album.

Part Two of the album falls into the Dub category. Reggae-styled themes with clear overtones of deeply rooted Ethiopian musical culture, this part of the album is very chill. But really, how can dub be anything but? This is both a strength and weakness. Playing off standard dub themes, and then teasing with experimentation is what you get in this part of the album – nothing more, little less. Take “Oromo Dub” or “The Call”: really chill tracks to listen to, but nothing really new. Neither the vocals, nor the cushitic dub rhythms elevate this dub over that dub, or really any other dub piece out there.

I think Part Three was made for porn movies. In songs like “East West Express” and “Eighth Wonder”, the keys and synths are styled in such a way as to make you think you’ve wandered into the champagne room, and when the porn horns come out, it’s all over. I’m sorry, Tommy T, but the “jazzy”, “lounge-y” sounds emanating off tracks like the aforementioned make for a good porno flick, possibly even a great one.”Eden” quite possibly captures all three of these trends in one track. The soft female vocals, the dub rhythm, and the ancestral sounds of Ethiopia (the porn vibes are slight) give this track an unfarcical exoticism that some of the other tracks probably aim for, but essentially lack.

In summation, The Prester John Sessions is not the greatest album, definitely not the breakthrough of the year, but it’s definitely something different; a different overall musical approach, albeit style broken down into three differing musical sounds, but interesting to listen to, and that makes it worth the disc spin.

TRACK LIST

01 Brothers

02 The Call

03 The Response

04 The Eighth Wonder

05 Oromo Dub (Cushitic Dub)

06 East West Express

07 Tribute To A King

08 Beyond Fasiladas

09 September Blues

10 Eden

11 Lifers (Easy Star Remix feat. E Hutz and P. Erazo)

Reviewed by Brittany Smith