Also, the follow-up album to epochal GRACELAND is influenced by traditional folklore. This time Brazilian sounds are mainly interwoven. As the title suggests, the main orientation of the tracks located on the rhythm. Drums and other percussion instruments are at the forefront. However, the album sounds rare to Samba or Bossa Nova, the influences are original. For the uninitiated, the sounds could just come from Africa. The rhythms are uniformly-hypnotic or create polyrhythmic, but rather are aimed at a spiritual experience than on the dance floor. SIMON acts as ambassadors of foreign musical cultures, its shaped by intellectual folk art of writing he goes to the end. The songs seem wholly uncommercial because the expansive, little catchy melodies do not ignite the volatile listening. They are in contrast to previous SIMON compositions even relatively difficult to hear. Although the opener THE OBVIOUS CHILD still has a relatively engaging melody, already demanding a dry, stoic, swanky, dominant drums a certain stamina from. Through subtle accompaniments Can`t RUN BUT, FURTHER TO FLY, COOL COOL RIVER and THE RHYTHM OF THE SAINTS get a fragile emphasis and an elegant orientation. At the Coast, PROOF, SHE MOVES ON, BORN AT THE RIGHT TIME and Spirit Voices to African and Brazilian offerings for the layman mix completely. The album requires a lot of concentration from the listener, but rewarded with an exceptional listening experience.
