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about this album
Just a short time ago -- in a last ditch effort to supply a borrowed van with wheels to make a club gig -- the four members of BLK JKS took turns hand-over-hand pushing a tire through the darkened, kinetic streets of Johannesburg, South Africa's Soweto township. For bandmates Lindani Buthelezi, Mpumi Mcata, Molefi Makananise and Tshepang Ramoba it's a simple and tough philosophy: every gig, everything at stake. They have shared stages in North America and Europe with artists as celebrated and disparate as Femi Kuti, Santigold, Dirty Projectors, Michael Franti and Cody Chesnutt; they have played festivals like Sasquatch and Soweto Arts Festival; and Ramoba has been celebrated by Billboard as "the best musician" at SXSW. It's an inspiring juxtapose from that day when a Jo-burg gig hung in the balance. But to witness the frenetic energy and soaring celebration of a BLK JKS gig is to know that they have maintained that same ideology. It's been too long since anyone was able to bring this much soul and heartblood to progressive rock, a medium that has been left cold and dry by a misguided focus on technical show-offery. But by entangling the music they love -- township blues, fringe jazz and renegade dub -- into the DNA of prog, BLK JKS have provocatively pulled afro-futurism into a new century. After Robots has all the ingredients of a party record -- young, joyous musicians; surging, afro-drumming; aggressive horn blasts (supplied by the cultishly famous HYPNOTIC BRASS ENSEMBLE
