Monday, January 28th, 2019

Charlotte Adigéry – Paténipat

Kicking off the week between Belgium and the Caribbean…


Danilo Bortoli: Context is not everything, yet here it provides something: “Paténipat” refers to “zandoli pa té ni pat,” a Creole saying which translates to “the gecko didn’t have any legs,” which in Adigéry’s voice becomes a true mantra in sheer repetition. And the mantra is cryptic when taken literally, but in the music it becomes clear: by reverencing her tradition, Adigéry presents the possible and tangible future bond of house and a long lost dream of global pop.

Alfred Soto: Had an archivist claimed “Paténipat” was a marooned track from a 1982 mutant disco track, I wouldn’t have blinked. Armed with a kick drum and a stick-like-glue chant, Charlotte Adigéry creates a track that works as auto hypnosis. 

Anna Suiter: “Hypnotic” can be a double-edged descriptor, because if it’s done too well the song can end up flat. “Paténipat” threatens to fall under, but it also manages to stay mostly afloat. The drop in the middle is probably the most interesting part, if only because it’s almost convincing fake-out. At least when it continues, it doesn’t get tedious.

Julian Axelrod: “Hypnotic” has been overused and abused in electronic music criticism, but Charlotte Adigéry’s chants truly sound like she’s trying to lull you into a trance. The harsh, spare beat gives her plenty of room to throw her voice(s) around the track, and her tongue-twisting incantations warp and sizzle like oil in a hot pan. The electric churn constantly threatens to overtake her, and near the end it looks like she’s finally been subsumed. But when the waves clear, she stands tall; taking her down won’t be that easy.

Katherine St Asaph: Dance music at its most singlemindedly propulsive; every time you think it’s found its highest gear, Adigéry takes it to over-over-overdrive.

Thomas Inskeep: If Fever Ray were more normal.

Will Adams: When was the last time a song with no bass moved you this much?

Nicholas Donohoue: MobyJustice, Steve Reich, YOU ALL WISH YOU COULD WORK LIKE THIS!

Joshua Minsoo Kim: Regarding “Paténipat,” Charlotte Adigéry had to say: “If in life you feel tired and hopeless, throw out all the stuff that don’t matter in the end. Dance until you’re dizzy. Be your naked and uncompromising self.” For many, it’s a challenge to cling onto only the bare essentials, so Adigéry graciously provides the necessary soundscape to truly get your head spinning. It’s in that moment of complete, uninhibited submission to the music that one remembers the truly primal delight that dancing can bring. Does this spark joy? I’d say so.

Pedro João Santos: Compared to her WWWater project — which is now opening for Neneh Cherry (yey!) — Adigéry’s songs are glossier and sound less insular, but that’s just mixing trickery. The WWWater material sounds stuck behind a smokescreen, while the songs are more emotional and proximate. Those under her own name tone down the theatrics and amp up the groove, more so in recent tracks than her sophisti-house 2018 EP. “High Lights” is good and has a Santigold-esque hook, but the state-of-the-art “Paténipat” is where it’s at. It’s molasses-thick and pulsating, yet somehow self-contained in its effusion, on the brink of insanity. The hook at its fastest is like sacrificing your body for the mind’s ultimate desires.

Reader average: [6.16] (6 votes)

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4 Responses to “Charlotte Adigéry – Paténipat”

  1. Her 2017 EP is also really good.

  2. …as is her latest EP that came out earlier this month.

    Also this might be a [9] now.

  3. yep this is a [9] now

  4. Welcome to the [9] club friends.