Myths of the Near Future (part two)

Mo Boma brings forth more of their scintillating music. Taking the title 
and (I presume) a lot of conceptual inspiration from the fiction of J.G. 
Ballard, band members Carsten Tiedemann, Skuli Sverrisson and Jamshied 
Sharifi present world music in a new light, by arranging the instruments 
and melodies against trancey suites of synths and ambience. Sounds easy? 
Sounds like Deep Forest? Nope, Mo Boma is a well-oiled concept executed 
with dedicated finesse. 

MYTHS OF THE NEAR FUTURE races forward in a carriage constructed of 
poly-rhythms and folk instrumentation that belies it's futuristic, sleepy 
spirit. Listening to the music, one is thrilled by the complexity and 
spontaneity; focusing elsewhere, the music diffuses into a veil of 
subdued music that sneaks into earshot. Mo Boma reaches out to the world 
with a musical message that is as enthralling as it is timeless. 

David Spalding, Korova Multimedia

Right from the start one could certainly expect the music of Mo Boma to 
have a world music flavor since their very name is taken from a pygmy 
girl's lullaby. 

A common thread running throughout this recording is the focus on the 
rhythms of the world. The percussion is almost always the central driving force 
behind the pieces. Combined with Sverrisson's bass guitar rising and 
falling amid the drumbeats, the effect is often hypnotic.

In many instances the synthesizer accents and harmonies seem to draw upon 
aspects of the instrument which have previously been explored by the 
likes of Lyle Mays in some of his past work with Pat Metheny. That is not 
so say that this music has any particular allegiance with a Pat Metheny 
recording - if anything, one would be most likely to relate the overall 
effect to that of Jon Hassell (circa "Earthquake Island").

Since the work is consistent throughout, it is difficult to focus on 
specific highlights. There are certainly many interesting moments to be 
had, including such pieces as "Bombolionheart". This composition fuses 
Fripp-ish guitar lines with Mays-inspired keyboards over a bed of rhythm 
which harks back to Eno and Byrne's "My Life in the Bush of Ghosts".
The only shortcoming with this set is that it is much too short. At less 
than 42 minutes in length this is likely to be one of those recordings 
that gets played twice at every listening ... and this disc certainly 
deserves repeated listenings.

Chris Meloche, Metro Times Detroit

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