Frequently Bought Together
Customers Who Bought This Item Also Bought
2010 release, the eagerly-awaited fifth studio album from the Alt-Rock outfit and the first to be release since 2007's Super Taranta!. Produced by Grammy award-winning producer Rick Rubin, Trans-Continental Hustle combines the band's radical invocations of positive primal energy and planetary consciousness with music infused with Ska, Metal, Punk, Rap, Dub and intimations of indigenous Brazilian sounds to produce a party maelstrom of electrifying proportions. Led by revolutionary change agent and provocateur Eugene Hutz, Gogol Bordello, a nine-piece juggernaut of gypsy rebel soul, has become an international force to be reckoned with.
What Other Items Do Customers Buy After Viewing This Item?
Top Customer Reviews
I was lucky enough to score a copy of 'Trans-Continental Hustle' about seven days before its official release when I saw Gogol live last week for the third time. Before I begin I must say, this is a live band. If they ever come through your town and they more than likely will, make sure you get to that show! They are like none other.
Anyways, on to the review. I have listened to it straight through about ten times already and I can tell you right now, it is yet another energetic gypsy punk extravaganza. The quick, powerful intensity and brain scrambling danceability that we know and love about Gogol is all over this album. There are songs on here that are incredibly quick, and every song is so layered and complex. It's just fantastic and I can't keep a smile off my face while listening to it. There is quite a bit of Brazilian influence on the sound seeing as frontman, Eugene Hutz is currently living there. His exuberant guitar skills shine through a lot more on this one than on any of the other albums. Like with previous albums, the band still carries the ability to be goofy, wild, and fun while also being genuinely heartfelt, deep and meaningful. Gogol Bordello creates music that is truly something special and fully deserves to be held in the highest regard.
As this is their major label debut with Rick Rubin at the production helm, I wasn't sure what to expect. Thankfully, Gogol has not changed. They are still, in my opinion, one of the top three working bands in the world right now so don't worry about musical quality. Nothing is compromised there.
To wrap it up, Gogol has done it again! It's another wonderful gypsy punk explosion and I couldn't be happier to hear more material from this magnificent band!
Most Helpful Customer Reviews on Amazon.com (beta)
Many have noted the now infamous photo of the band wearing matching garb promoting the release of the TCH, a ominous sign of something completely antithetical to the core of GB and punk itself, a band comprised of wildly diverse elements too unrestrained to be coerced into uniformity. It could point to the more polished nature of the album as a whole. For since this album is under the purview of mega-producer Rick Rubin, I suspect that GB's talents, and perhaps its greatest asset, raw unpredictability, may be sacrificed for family-friendly airplay. Take the songs Uma Memina, Last One Goes The Hope, Rebellious Love and To Rise Above, for example. The backup singers sound distinctly bored with their restrained wailing. Gone is the occasional though necessary explicit lyric, and less predominant is the evocative gypsy violin from Sergey Ryabtsev in favor of the strumming of acoustic guitar.
That's not to say there are unworthy tracks here. Rebellious Love, My Companjera, In the Meantime in Pernambuco, and the epically momentum building When Universes Collide are all worthy of addition to the elite GB songs. GB's songwriting has always been intelligent, fun and belligerent, and it doesn't deviate much on TCH. In fact, the lyrics are probably as tight as they have been on previous albums; the fever to which they're musically set simply isn't as wild or spontaneous.
For the handful of standouts in this album, for me it doesn't match the intensity of Super Taranta! and Gypsy Punks. I don't blame the band for going in a more polished direction; it was bound to happen that someone influential with the promise of a big payday would try to latch onto GB. I'm thankful that it didn't detract too much from Trans-Continental Hustle, and that it happened after two supremely powerful releases. Trans-Continental Hustle is a fine, if perhaps too well-produced album that while not as overwhelmingly definitive, continues Gogol Bordello's recognition in the realm of worldly punk.
I was eagerly awaiting this new release, and so much wanted to like it, but there were too many things that did not sound right.
Stripped of the debauchery, humour, screaming backing vocals, Sergeys energetic violin and the accordion, this album is sadly lacking - a lot.
The publishers blurb says "...primal energy...Ska, Metal, Punk, Rap, Dub". Unfortunately, in my opinion, these have all been produced right out of the original sound of Gogol Bordello. What is left is a mediocre rock/pop sound. You would be hard pressed to find anything Balkan or danceable (in the crazy style of Eugene Hutz) here.
On the good side, the vocals and lyrics are still great, and definitely have potential. If the album was redone with the wildness of "Gypsy Punks" it could still be a great album. No doubt when performing this album live, some of the wildness will creep back in. I will await the remake...
Enter legendary producer Rick Rubin ...an important creative force in the rock and roll influenced hip-hop that launched Run-DMC and The Beastie Boys and of the Red Hot Chili Pepper's "Blood Sugar Sex Magic" where the expanded songwriting and vocal scope of Anthony Kiedis combined with the integration of the melodic genius of guitarist John Frusciante produced an ingenious record, for which he almost certainly should derive significant credit. Simply put, this man has been a big, active part of some great music.
However, in the case of Trans-Continental Hustle (and the ensuing live performances of the band) the addition of Rubin may be viewed, in some way, as a negative. While Gogol Bordello owes its success to the powerful, collective musical vibe of the band members, Rubin's influence seems to have placed greater emphasis on the dutiful execution of some carefully constructed songs ... and the result is a collection where, in many cases, the intensity of the raw energy, peak output and the optimum performance of the players has been compromised. While it has its high points, the magic appears only sporadically on this record. The best indication of this is recent live performances, where shows (formerly two solid hours of mindful euphoria..comprised of roughly 90% material from the GP:UWS and ST! records) have blocks of lower energy with the crowd fidgeting, sometimes paying only fleeting attention to the performance.
So, in summary, this record is worth buying, because Gogol Bordello is one of the best acts in the world, and everything that they do has merit, but in this case Rubin over-tinkered with something that wasn't broken and the result is a small step down from previous efforts. If you want to get in touch with this band, explore first the records mentioned above. While I consider Trans Continental Hustle (and the music of Gogol Bordello) to be a wonderful gift, I would certainly welcome a return to the formula which best represents their strengths.