Hip Abduction, I’m happy to say, sound especially groovalicous on their latest CD.
The rhythms slither and sway more demurely than a Shakira spasm but are plenty seductive.
The internationally flavored act (that may or may not be named after exercise equipment) includes David New on vocals and guitar; Chris Powers on bass; Andrew Kilmartin on drums; Patrick Hernly on drums, pan and congas; Matt Gawlik on sax, keys and flute; and Kevin Clark on trumpet, flugelhorn.
They just put out a 5-song EP that’s crisply recorded and smoothly executed.
For me, the horns work best. They add a magically sweet swirl through the funky reggae and African-inspired beats.
I was unsure I’d like it. I get the heebie-jeebies from a lot of “eclectic” bands and I myself feel that funk, reggae and blues are best in their original pure states, not watered down and repackaged by white boys wearing shell necklaces.
Not that I’m characterizing Hip Abduction that way. It’s just a stereotype that too often rings true.
For me there are exceptions, I like white reggae sometimes, like The Police and The (English) Beat. Some blue-eyed soul, too, like Hall and Oates and Van Morrison, but for the most part, I say leave the reggae in Jamaica, the funk in New Orleans and blues in Mississippi.
Though there are a few trademark jam band identifiers on “Move” — like resemblances to Sublime and lyrics with a patently freespirited vibe — it’s overall a pleasant listen and wholly hip-notic.
What’s more is the band puts on a hell of a booty-shaking show. Folks don’t stay still at a Hip Abduction show.
Even Shakira would dig it, and that bitch’s hips don’t lie!