Wareika - Formation

Wareika - Formation

Tartelet

Wareika is the collaboration between Henrik Raabe and Jakob Sedensticker, known
for their work as the Havana Boys, and newcomer Florian Schirmacher. Since 2008,
the trio has produced a series of well-regarded, afrobeat inflected house singles. Their
new album, ‘Formation,’ compiles tracks previously released on Eskimo, Connaisseur
Superieur and Tartelet, complemented by some new material. For fans who don’t
already own the singles, ‘Formation’ is a must-buy. But as an album, ‘Formation’
is inconsistent: though it does have its moments, much on offer here is forgettable.

The album beings with “Men Village,” previously released on Connaisseur in 2008.
There’s nothing wrong with the track, per se, but feels like a mishmash of clichés: the
deep synth chords, the shuffle-house beat, the blips and beeps and so on. If you heard it
on the dancefloor, you’d move your feet, but you wouldn’t remember what they moved
to. Next up is 2009 single “Ascending/Descending,” which initially appears to threaten
more cliché, this time in the form of woodblocks, tinkling pianos and “stars-in-the-sky”
synth arpeggios. However, the casual sadness of the piano and neat syncopation on the
percussion help elevate the track above genre convention. ‘Formation’ then moves on to
the lovely third track, “Barracuda,” which sounds like then unlikely, but oddly intuitive,
child of Gene Farris and neo-afrobeat outfit Mapstation.

Wareika then makes an unspectacular, but inoffensive, foray into self-aware vocal garage
on album-exclusive “Facing the Sun.” It’s okay, but this is a genre that’s produced
metric tons of “okay” every year since the late 1980s. Henrik Schwarz this isn’t.
Staying on the garage tip proves worthwhile, though, as Wareika serves up its clever
2008 cover of the Doors classic “Riders on the Storm.” Already lounge-y, Wareika amps
up the track’s lounge quotient until you can practically taste the martini-soaked olives.
Then, around 3:45 in, things settle into a hypnotic mix of afrobeat guitars, subtle synth
stabs and a cut-up of Ray Manzarek’s unforgettable electric piano. “Burnin” is another
standout, sounding aggressively sexual and smooth at the same time, in the way only
house music can.

Unfortunately, the album’s momentum peters out with the drumless, piano-noodling
“Prelude.” Of course, some might find it more sophisticated, and less indulgent, than I
did. The album closes with the slowed down, funk-and-soul of “Belonging.” It grows
on you, but it’s still a far shot from the album’s high points.

When push comes to shove, ‘Formation’ delivers just enough must-hear moments to
be worth a few good listens through. Certainly “Riders on the Storm” and “Burnin”
should find their way into the record boxes of discerning house DJs, and will brighten up
the earbuds of more casual aficionados as well. Unfortunately, the rest of the album is
largely a collection of “good enough” and “unremarkable.” The fact that Wareika is so
obviously talented makes this fact particularly disappointing.

Gustav Brown