Gogol Bordello - Trans-Continental Hustle

Interesting things happen when an artist makes the crossover from an independant label to a major one. Usually this equals a sound change, due in part to the increased production-based resources at the artist’s disposal, but for many it serves as an opportunity to draw a line between the past incarnation and the current one. For groups like Gogol Bordello who occupy niche genre market, such as gypsy punk, the changes are just as unsubtle. So with the release of their major label debut Trans-Continental Hustle, the group’s first album since the much acclaimed Super Taranta!, what has changed?

To answer this look no further than the title; whilst still employing the Romani/punk hybrid that many love them for, a new influence has been brought to the fore: Latin music. The reason for such a change is due to Gogol Bordello’s manic and oddly charismatic front man Eugene Hütz’s recent move to Brazil, where he has resided for the last few years. This can be seen from the very beginning of the album with the flurry of acoustic guitars bearing a great resemblance to Mexican act Rodrigo y Gabriella. Such a fusion as this is an odd one, particularly since it has been tried by many before with no success, but with Gogol Bordello there is a miraculous synergy. The crashes of cymbals and the screeching of strings now find themselves well complimented by a Latin sound that creates an aesthetically pleasing listen.

Also of note is the improvement in Hütz’s lyric-writing ability and that he is now able to create a more consistent album than those previous. Each track is foot-tappingly fun and would improve infinitesimally when heard live, in fact with this album already being a commercial success there will be far more competition to see their gigs. But, with all this increased musical ability and construction there has been one huge casualty of the move to a major label, the passion. What set albums like Super Taranta! and Gypsy Punk: Underdog World Strike apart from most of the musical world was the mercurial nature of the songs, of which many had an uncanny ability to descent into exuberant madness. This unpredictability was something that made many listeners play the album again and again with such relish. With Trans-Continental Hustle this has been lost somewhat. In fact compared to everything else in their discography it would appear to be an almost restrained affair, which is a shame since much of the fun has therefore been lost.

The major label compromise to tone down Gogol Bordello is a mixed blessing since some fans may dub the group as sell-outs. However, by doing so it is tame enough to attract new listeners and thus act as the perfect introduction which can lead to curious sampling of the back catalogue. This complaint should in no way downplay how good Trans-Continental Hustle is. In many ways it can be judged as one of their best listens, especially since repeat listens tend to not be as wearing as with previous efforts. Yet there is still a part that yearns for the older Gogol Bordello and sorely misses the madness.

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