Journalists like to compare South African rockers BLK JKS to Vampire Weekend and TV on the Radio. This is what we call in-the-dark reporting, and it’s fairly common for new bands without an immediately familiar sound to get such treatment early on. One would have to figure that the Vampire comparison has everything to do with said band’s debut being something of a rip-off of Paul Simon’s Graceland, usually cited as being heavily influenced by African music. While BLK JKS doesn’t sound at all like Vampire Weekend or even Graceland, they are from Africa. And no, not all music from Africa sounds like Graceland. Most of it doesn’t. As for the TV on the Radio likening … well … whoever felt it necessary to make such a comparison did so based on haircuts, outfits and eyewear, not music. Sometimes press photos fool lazy writers - not much more to that one.

At the beginning of a band’s career, writers, fans, radio deejays and record store clerks will do their best to describe this new entity by comparing it to other bands. It makes sense, except for in the rare instance when a band like BLK JKS arrives. In such cases, comparisons are hard to make and, as noted above, usually inaccurate and confusing. You’ll simply need to hear BLK JKS debut LP, After Robots, to know what it truly sounds like. I could tell you that these very organic-sounding recordings contain elements of dub-reggae, fringe jazz, indie rock and even progressive rock, but that still wouldn’t do the trick. I could tell you that I think these guys - Lindani Buthelezi (vocals and guitar), Mpumi Mcata (guitar), Molefi Makananise (bass) and Tshepang Ramoba (drums) - seem to take more from the epic productions of late-era Tool than anything TV on the Radio have ever released, but, again, that won’t do justice to their sound. You simply have to hear it and decide for yourself - these guys are that unique.

I hear drops of Fela Kuti and even Talking Heads, but that’s too easy. I hear so many different genres and influences and playing styles spread throughout After Robots’ nine cuts that I can’t help but feel like I’m experiencing what Americans likely first felt like when The Wailers’ music started hitting U.S. radio waves four decades ago. One thing that should be mentioned is how strong all the playing is on both After Robots and the band’s debut EP, Mystery, released earlier this year. Drummer Ramoba stands out, hitting with the timing, precision and inventiveness of a seasoned pro. Guitarists Mcata and Buthelezi shine as well, playing off each other in a way that will appeal to fans of the Mars Volta and even Phish. Singer Mcata’s vocals have a tribal quality that feels exactly 1,000 times more authentic than, say, that haughty Ivy League dude from Vampire Weekend.

So no, I can’t really tell you too much about these guys - they’re too interesting to be so coldly described in print. And, truthfully, the only thing that’s really going to give you a solid impression of this sound is your headphones. After Robots - which, by the way, was recorded in Bloomington, Indiana - is the kind of record that needs to be heard. I suppose it’s safe to say that if you like genre-melding music with roots in jazz, rock, progressive rock, indie rock and soul, then you’ll probably find BLK JKS to be interesting - probably even exciting. Maybe even a revelation. The unlikely combination of tribal rhythms, expert playing, epic compositions and stand-out hooks make After Robots one of 2009’s most exciting debuts. These are songs that were written, practiced, developed and recorded over a long period of time, and with much care. And it shows.