FuturePrimitive

Hercules and Love Affair

2011-01-07T10:53:00.000-08:00

While a preview of what's in store from Andrew Butler's Hercules and Love Affair has hit the internet, it's great to see that his house leanings have become a mainstay. Their debut is a serious keeper with sounds that conjure up the most amazing disco bass lines, the modernist angular synth stabs of Yaz, Erasure, Arthur Russell and 80's house beats from Chicago and even Detroit Techno. Bringing in a colorful cast of vocalist, including Antony Hegarty, makes the collective mix more intriguing. It's a great synthesis of history and 4/4 rhythms. There are dub instrumentals, a little homage to George Kranz's "Din Daa Daa" in the form of "True False/Fake Real" and "You Belong" pays tribute to Kevin Saunderson/Inner City's "Good Life". There are references to the old DEF Mix productions of 80's House Dons, David Morales and Frankie Knuckles. None of this has fallen on deaf ears as Knuckles and Saunderson have returned the favor by remixing singles "You Belong" and "Blind". Just like the community it soundtracks (which is beyond race, gender and sexual preference), it's a true love letter to House music in all it's forms and the House Heads who have nurtured and continue to support it.

Little Dragon- Machine Dreams

2011-01-02T18:19:00.000-08:00

It's been four years since Sweden's Little Dragon appeared on the scene proving that vocalist Yukimi Nagano was more than a one-off vocalist for projects by Koop and Swell Sessions. When Little Dragon released its eponymous debut in 2007 it featured some serious rhythmic and vocal style changes. This time out Yukimi was more vocally in line with Erykah Badu than Astrud Gilberto and tracks were a melange of downtempo/ hip hop with electronic flourishes.
On "Machine Dreams" those lo-fi sound effects are more prominent. This time lo-fi combines with electro-synth and new wave sounds. It seems like a completely different approach but if you listen to tracks from the debut like "Forever", "Test" and "A Place to Belong" the beginnings of this direction are there. Yukimi's vocals are less acrobatic and more in line with the electronic drones that accompany her. While much of the delivery is at times monotone she knows when to add the right amount of vibrato. It's a successful balancing act that balances all the 80's influences and electronic sheen that could sound soul-less on their own. Some songs reference Malcom McLauren, Human League, and Yaz. Regardless of the influence, tracks like the meditative and percussively sexy "Thunder Love" and "Feather" are more than odes to the 80s. They are a re-assembling of and re-defining of them. It was no coincidence that Gorillaz front man Damon Albarn pulled them in for two tracks on 2010's Plastic Beach. The two tracks that feature LD are some of the most affecting and yet detached songs on that long player. It's also evident how much "Plastic Beach" bares the mark of "Machine Dreams".

From the beginning of "Machine Dreams" there's less of an attempt to appropriate American Hip-Hop and R&B and instead pursue a more individualistic sound that gleams with an Asiatic vibe. On the track "New" Asiatic orchestrations are interpreted through synth, reverb and rubbery synth lines. This aural wash ushers in Yukimi's delivery of lyrical stanzas. Elsewhere on "My Step" post disco beats and warbled melodies change tempo and become a completely different song. The marching time rhythm of "Fortune" belies it's melancholic lyrics about moving forward and the downfalls of restlessness and complacency. "No friends wanna stay around. So moving on to a different part of town." Here's hoping Little Dragon continues it's nomadic musical journey with abandon.

Fleet Foxes

2010-12-16T21:29:00.000-08:00

Seattle's Fleet Foxes offer the masses an album that is packed with plays on harmony and melody. With lyrics that are languid and ambiguous they allow the listener to be enveloped in a cocoon of sound and hymns. While polyphony and acapella lead listeners through the intro of "White Winter Hymnal", the crescendo lands you smack dab in the middle of chamber pop. Aside from the influences of Americana and Native American rhythms there's also sonic references to folk 60's bands like The Byrds,The Zombies and even the Beach Boys. While they sonically pull from those groups the subject matter is much more solemn, subdued and pagan with allusions to nature. There is a recurring theme of isolated moments in time, of quiet and majestic happenings that take place right under our noses and over our heads. The songs aren't necessarily stories but snapshots, vignettes or occurrences that conjure feelings or moods. "Ragged Wood" has a driving rhythm that breaks down midway as the acoustic and bass guitars segue into an ostinato that slows the tempo down. There are references to Renaissance music("Tiger Mountain Peasant Song" & "Your Protector") and even choral music("Heard Them Stirring") all beautifully crafted. The songs are so thoughtfully executed and so well rounded they move beyond mere imitations or snapshots of the rock/folk evolution. Song after song delivers quality and a quiet storm of imagery. It all comes to a climax on the epic "Blue Ridge Mountain" with an endearing lyrical post script delivery. It's like you're bearing witness in an isolated forest where Fall makes the trees drop their leaves and Winter blankets the woods with snow...and you've been allowed the privilege to see the wonder happen.

Janelle Monáe- "The Archandroid"

2010-09-06T23:41:00.000-07:00

I have put this album aside trying to amass words that would do it justice. Now that the second phenomenal single "Cold War" has come out I've noticed many have not experienced the genius that is Janelle Monáe. In a nutshell, the album is an amalgam of musical styles. That Monáe threw so many influences in the mix and pulled off intricate cohesion is rather incredible. So if you give this album a listen see if any of the following come to mind: Classical music, Afrobeat, Southern Baptist music, Disco, Funk, Motown Do Wop, Hip Hop, Electronic Downtempo, Folk, Latin, Tango, Big Band, along with the influences of Tim Burton, Fela Kuti, Michael Jackson, Outkast, James Brown, Phil Spector, The Violent Femmes, AIR, Disney Animation Scores, Santana, David Bowie, The Tom Tom Club, Simon & Garfunkel, Claude Debussy, and Shirley Bassey. That all sounds pretty disparate and unlikely but it's in there. Avid music lovers will come up with their own list. All these references and styles are used to tell the continuing metaphorical saga of android Cindi Mayweather who is mass produced in the year 2719 for a market filled with severe social stratification. Our protagonist is being hunted for disassembly after going rogue and committing the crime of falling in love with a human named Anthony Greendown. The Archandroid: Suites II and III pick up where "Metropolis: The Chase Suite I" left off (Inspired by Fritz Lang's 1927 science fiction classic, Metropolis.). In fact, the track "Neon Gumbo" plays like a catch-up vignette of Suite One. It's a one and a half minute interlude of the ‘Metropolis’ lead off single "Many Moons" played backward. Each suite is buttressed by an overture that incorporates all the songs from its respective body. With a small range of guests that include art rockers Of Montreal, Big Boi and word-smith Saul Williams they never take away from her vision but embellish it. Considering that the art of the LP has taken a backseat as the music industry collapses, we are fortunate to not only get a brilliant concept album but also a great representation of the popular music spectrum. We've been presented with an audio-cinematic vision by Janelle Monáe. This still leaves one more suite to conclude the series. While our protagonist is captured by her antagonists in Suite II and about to escape in Suite III, I can't wait to hear what the emancipation of Cindi Mayweather will sound like in light of all the great sounds we've heard so far.
Cold War from Amaël Bédard Claes on Vimeo.

Chico Mann- "Analogue Drift: Muy...Esniqui"

2010-06-18T21:53:00.000-07:00

Chico Mann may not be a familiar name that conjures anything to mind but drop the name Antibalas and that may give you a direction to go in. Like that polyrhythmic band that guitarist Marcos Garcia plays with, Afrobeat is very much the backbone of his side project. "Analogue Drift...Muy Esniqui" takes Afrobeat and mixes it with 80's Freestyle Electro along with spiritual, celebratory, bilingual mantras. While it's solid party music, the album's theme is all about the rising and waking up of the masses. With lyrics that wax a "one world" mentality, the 808 drums and squelchy synths just make it that much more jubilant. Intro track "Harmonia/Harmony" has guitar licks reminiscent of Sheila E's "Glamorous Life" and delivers on the good feeling moving deeper with chants. Meanwhile, a sample repeats "Reporting for duty." and yes this music is a call to arms for humanity to fight. To fight by implementing harmony in our own lives for the benefit of all. Nowhere else does the music get more explosive than on the breakbeat of "All That Is Rising". The Freestyle influences are bountiful with cowbells, claps and drum snares. There's also a great Afro-Freestyle interpretation of Talking Heads "Once In a Lifetime". The LP has been out for a good year in limited release as Chico Mann puts the finishing touches on his sophomore LP "Trickster for Kids" and finishes work for the next Antibalas release. Go to Bandcamp and download a copy. http://chicomann.bandcamp.com/album/analog-drift-muy-esniqui

Terry Callier- "Hidden Conversations"

2010-06-18T21:50:00.000-07:00

Fresh off the heels of his collaboration with Massive Attack, poet and storyteller Callier returns with an LP fully supported by the Massive. His last LP utilized the production talents of Incognito and 4Hero to wonderful effect. Massive Attack do just as good a job and while there is plenty of Jazz and Folk in the mix the electronic soundscapes take nothing away from Callier's delivery and songcraft. Opener "Wings" takes flight with rap-speak delivery reminiscent of the Last Poets. "Sunset Blvd" relays the failed dreams of it's Hollywood characters while the production conjures sinister hot sidewalks for them to trudge on. On "Hidden Conversations" he flips the script on the already cryptic "Ring Around the Rosie". "I Once Dreamed of Heaven" starts off ambient and concludes with Terry speaking in tongues with a touch of reverb making him sound like a dubbed out Nina Simone. The two actually share quite bit in terms of vocalization. The albums centerpiece "Fool Me Fool You" is a great slice of Folk-tronica. Now if your expecting an all out "Trip-Hop" album it won't happen. Massive Attack may have produced a few tracks but it's still a Terry Callier album and being around 40 years the man knows his craft. It's great to see him still making music with the respect of contemporary musicians that want to collaborate and help him spread his prophetic words of wisdom.

Amanda Blank- I Love You

2010-02-07T13:32:00.000-08:00

Out of the Diplo and Switch production machine comes the newest of genre busting femme fatales. Amanda Blank represents Philly storming in with a barrage of 80's inspired hip hop and new wave beats. To call her a retread of Santigold or MIA would be an unfair write off. Busting out of indie kid's speakers in 2005 on Spank Rock's 'YoYoYoYoYoYo' cult fave "Bump", Amanda not only ripped Fergie and the Black Eyed Peas a new hole for selling out, she delivered a flow reminiscent of J.J. Fad's Supersonic, re-injecting a much needed dose of fun into contemporary hip hop. The production is a bit industrial but never gets in the way of her delivery. She starts out punk on "Make It, Take It" and then spits verbal bullets at dominating men and wallflower women that "can't handle it, to get off the floor..." over the bouncy, ass- shaking, glock-cocking "Something Bigger, Something Better". She mines all that is good about the 80's and for proof look no further than the two 80's cuts she reinterprets- Vanity 6 and L.L. Cool J. Her interpretation of L.L. Cool J's "I Need Love" is a nice gender flip that splices Santigold's vocal from her Alt-Rock Anthem- "I'm A Lady". (A demo version exists on Santogold's Top Rankin' Mix tape.). It's her mining of the Vanity 6 cult gem "Make up" that deserves major props. It's interesting to hear the song re-emerge as a cold and controlling droid monologue supported by industrial funk. It's the flip side to Vanity's decorative wall-fixture, sex kitten reading. The menacing robo-grind is counter to Prince's warm- fantasy- eye-candy, arm-trophy feel of the original. It serves as a reminder on how womens' roles in music have changed from the era these songs were conceived in. She could easily read you the riot act like Roxanne Shante or Lil' Kim one minute- "Lemme Get Some"/"Gimme What You Got", or be vulnerable on songs like "A Love Song"/"DJ"/"Shame on Me". She's in good company (with mavericks like M.I.A., Santi White, Spank Rock, Diplo and Switch) so if this LP doesn't quite match the expected success of her cohorts, I get the feeling we'll be hearing more from Amanda "Just take me home" Blank.

Femi Kuti & The Positive Force- Day by Day

2010-02-07T01:06:00.000-08:00

Femi Kuti makes a long awaited return with his fourth album Day By Day. Without the pressures of MCA/Geffen to mainstream him by forcing hip hop artist on him (like they did with mixed results on 'Fight To Win') Kuti focuses on what he does best. Funk, Soca and Afro-beat rhythms all converge on this, his tightest, most pivotal LP to date. Some of the songs hit their mark in under three minutes. The fantastic "One Two" jams and builds with playful nursery ryhme choruses to counter verses that decry the disparities of the Nigerian Government- biting. Elsewhere, the frenetic beat of "Democrazy" runs it's workout course through organ, percussion, vocals and horns that sound like they come from a stampede of angry elephants. Femi also pays tribute to forebearers (John Coltrane, Billie Holiday) in music including his father in the swinging "Do you Know". There's much that references the past whether it be Parliament Funkadelic bass synths or Santana-styled organs but is it clear that Femi has become his own band leader and doing right by the Kuti Legacy. It's great to hear music that shifts in arrangement and tempo at the drop of a dime. The Positive Force deserve just as much credit for being just as talented. You may not understand all that is said lyrically but there is no denying the power and energy of the music. There isn't a dud track on this.

J*DaVeY- "Boudoir Synema: The Great Mistapes"

2010-01-18T21:52:00.000-08:00

If the spirit of Punk and Funk had a baby it would probably look and sound like J*DaVeY. After a good amount of time in "too odd to fit into radio formatting" limbo they were finally able to seal a deal with major label Warner Bros. This (considering Prince, Chaka Khan, Esthero and countless other quality artists that had projects shelved) may be a good or bad thing. I'm of the latter opinion believing they should have distributed through independent labels. Along with relentless touring, vocalist Jack Davey and multi-instrumentalist Brook D'Leau have also collaborated with some notable artist (4Hero, The Roots, Steven Spacek, Phonte and 88 Keys) gaining more attention for their two EPs "The Beauty In Distortion" and "The Land Of The Lost". Both demonstrated promise and an unrelenting refusal to be pigeon holed into any one genre. The EPs also showcased how much output they can accumulate(Each EP had no less than twelve tracks). Now before their debut LP drops they release "Boudoir Synema: The Great Mistapes". With only 5 songs this is a nicely whittled down and well rounded showcase of what they have to offer. Jack Davey's witty lyrics float over a bit of GoGo, Electronica, Punk, Funk, Soul and Ambient textures. While Jack Davey's voice doesn't have the widest range (at times she may even remind one of Stacey Q, Paula Abdul or dare I say Britney Spears) it's her word play and phrasing that unveil her spunk and spitfire-take no prisoners- personality. (Something that the aforementioned lack in spades.). This time out there are no guests. It's simply J*DaVeY doing what they do best. Look... it's free from their website for a limited time. Do yourself a favor and grab it.

J*DaVeY "Get Together" from Veronica "V-Chip" Hinds on Vimeo.

Jazzanova- "Of All The Things"

2009-11-08T22:24:00.000-08:00

Five years had gone by since Jazzanova graced the music scene with their 2002 debut "In Between". The Sonar Kollectiv ring leaders had contributed to the Blue Note remix project in 2004 (remaking Eddie Gale), released a soundtrack "Belle et Fou" in 2007 and broke ties with Compost Records to solidify their own label- Sonar Kollectiv. While the collective had a hand in kick-starting the broken beat movement the musical landscape in 2007 had changed quite a bit. So for Jazzanova to jump on the retro bandwagon could be seen as something of a let down. It could...but in the hands of a production unit as impeccable it's more than just cashing in on retro sounds. It's a re-assembling and re-defining of them. Another obvious change, aside from the musical direction, is seeing a majority of male vocalist take center stage. There's a Motown sound that permeates with chamber strings, horns and filtered drums. The electronic FX are minimal. If anyone truly has any connections to Motown's past it would be through Detroit's present talent. Yes, Detroit and Berlin share a love Techno but this time around Jazzanova mine three treasured talents from Detroit's underground. Hailing from their respective scenes, Hip Hop's Dwele(Slum Village, Recloose), House music's bassist and vocalist Paul Randolf(Carl Craig, Isoul8) and the inimitable and legendary Motown writer- Leon Ware(co-writer for Marvin Gaye, The Jackson 5, Maxwell) make appearances. Even more impressive is that this sextet go global for talent. From Detroit to New York for crooner José James, over to the UK for Ben Westbeech and Bembe Segue(Bugz in the Attic, The Politik, 4Hero), to New Zealand for Fat Freddy's Drop vocalist Joe Dukie and finally Brasil for instrumentalists from Azymuth and vocalist Pedro Martins. One can deduce that having such a roster of international guests shows how much this album is a labor of love and while this album is less for the dance floor and more for your hi-fi, it's no less significant. Flowing from Motown to Folk to the Quiet Storm centerpiece (featuring Dwele backing Leon Ware), it doesn't try to be retro. It moves into Bossanova territory(not an electronic interpretation like 1997's Fedime's Flight but real Bossanova utilizing real musicians). From there they segue into a more relaxing mood laying down a plush carpet of Astral Jazz for Bembe Segue to lay her cosmic vocal down. Global music for global times. Highlights include the opener "Look What You're Doing To Me" (the only track to have overt FX. "Let Me Show Ya", "I Can See", "Lie", "Little Bird", "Rockin' You Eternally", "What do You Want", "Gafiera", "Morning Scapes" and "Dial A Cliche".

Miguel Atwood-Fergusen & Carlos Niño - Tribute to Ma Dukes

2009-10-01T20:59:00.000-07:00

L.A.'s own Carlos Niño(Ammoncontact) and Miguel Atwood-Fergusen drop an incredible tribute for Detroit's own super Hip-Hop producer JayDee Yancey(J-Dilla). The EP "Tribute to Ma Dukes" is a mere four tracks but within those 20 minutes four of Dilla's collaborative tracks are turned into some of the most hopeful, swirling sentiments of contemplative music. Exaltation cannot even describe...There's a bit of Classical, Jazz and Hip Hop. This beat-less expression contains all the Cosmic force of Hip Hop you need. There's Tribe Called Quest's "Find A Way", Dwight Trible and The Life Force Trio's "Antiquity", "Fall In Love" by Slum Village and Common's "Nag Champa". Word has it that if you played the original tracks with these orchestrations they would match up. The EP cover is a shot of the burial at Glendale's Forest Lawn. Considering how the pair paid tribute to Alice Coltrane upon leaving this realm at L.A.'s Japanese-American Museum(which was amazing), this seems the logical next step. Astral traveling fo' sho'!!!! May you be at peace Jay Dee.

MF and The Detroit Sub Rev- Somewhere Between

2009-09-30T07:24:00.000-07:00

With an influence of late seventies, early eighties hair rock bands, MF and the Detroit Sub Rev let their hair down and invite you to grab a case of beer and sit. The songs mainly wade through mid-tempo territory leaving room for a few to be re hauled. There are great kick offs to songs that are well underway and a couple of great songs that are pretty fleshed out. The intro song "Happy Day" is a nice folk starter that kindly scolds a sanctimonious friend. "Purgatory" rocks loud and crunchy like the band should. It's raw-garage country tinge flaunts a needed change of tempo and texture. It stands out next to the other tracks. It's got a great break down where the tempo changes up and vocalist Melanie stretches her vocal chops in a different range- and sounds great. "GBF" is another point of interest for its folk arrangement and a little Latin breakdown after every verse. If it had a xylophone accompanying the guitar it could easily sound like it's from south of the border. It's a pretty sexy track. Melanie's vocals stretch the syllables of darkly comedic lyrics on the jazzy side. "Cleanse My Soul" is a slow dirty rocker that has the potential to really funk quite a bit. The bv's are great and the filter on the voice adds a nice touch. The guitar is great!! The song is a real grinder.(slow it down a little more and really use those tom drums!!!) Other songs have a great amount of potential "Wasting My Everything" has great vocals but the music needs to be kicked up a notch with more prominent breaks and a quicker tempo. The vocals sound mad but the music lethargic. Crank it sister!!! Your pissed!!!! "Aspiration Frustrations" suffers from the same thing. It sounds a bit anemic but just needs to be pumped up a bit with a quicker tempo and the tom drums need to be brought up more. Even if they are isolated in a breakdown of the chorus. When I hear them in my headphones switching channels they're begging to be heard more. The closer, "Disillusioned" is a great concluding track. It's intimate with great vocals and well written lyrics that lull you. I hear it starting off acoustically and building to what they have laid down on the demo. Add some tambourine or bring up the hi-hats. There's some great material here that just needs to be played with. Hopefully some more studio time will allow for that. They cite Thin Lizzy as an influence. Check out "It's Only Money" for some great examples of arrangements and breakdowns.

Terry Callier- What Color Is Love?

2009-08-19T18:28:00.000-07:00

Terry Callier has been a around since the mid 60’s hailing from the Cabrini Green projects of Chicago. He traversed Chi town’s folk scene in the late sixties early seventies and eventually retired from music. Opting for a steady paycheck he became an employee of the University of Chicago (who knew nothing of his releases until almost twenty years later) until bookings for performances of his music took him to the UK. This brought Callier out of retirement, back to recording and fanned the flames of a resurgence of interest in his music. In the late 90’s he delivered “Timepeace” for Gilles Peterson’s Talkin’ Loud label. Most notable are his lyrics that shower Sage- like wisdom over folk arrangements. He was, after all, a friend of Curtis Mayfield so the socio-political conscious lyrics carry over from the time period and are more than appropriate for current events. Callier’s back catalogue was brought back and thus more recordings like "Timepeace" and the wonderful “Speak Your Peace” featuring 4Hero and Incognito produced tracks, would introduce him to a new audience. It’s not surprising that Massive Attack would hook up with him for their greatest hits collection which led to a whole collaborative album to be released later this summer. Our focus however is Callier’s output from the Cadet Catalogue which was home to the Rotary Connection, Marshall Chess and master string arranger Charles Stepney. His three albums “Occasional Rain”(1972), “What Color Is Love?”(1973) and “I Just Can’t Help Myself”(1974) are in their own right pretty stunning. Sparse, rich in imagery and emotionally drenched, they are some of the most beautifully arranged pieces of music to come out of that or any other label. “What Color Is Love?” is a quiet storm of an album that features bits of folk, jazz, rock and classical music influences. Sound a little strange? These characteristics are not that uncommon. The Cadet Label churned out some of the most beautiful music the ‘60s had to offer dabbling here and there with genres and sounds. The opener “Dancing Girl” sets a drift on a bed of acoustic guitar depicting imagery of a dancer, only to change direction and drop slow swinging jazz drums depicting a heroin addict attempting to escape the reality of life. It’s a 9 minute suite that morphs into an all out horn section leaving gently the way it came. Orchestration plays such a huge part of the this album. The other tracks that jam are “You’re Goin’ Miss Your Candyman”, an acoustic folk rocker with a groove that builds. “Just As Long As We’re In Love” and it’s flipside “You Don’t Care”, feature a budding Minnie Riperton fresh off her Rotary debut. Her supportive call and response vocals add to Callier’s experienced delivery. On the latter her lonely vocal narrates the sentiments of the rejected walking away as the screen fades to black. Cinematic, to say the least.

Bugz In The Attic- Back In The Doghouse

2009-02-08T08:43:00.000-08:00

The Bugz, a collective of DJs and musicians, helped push the boundaries of broken beat started by Jazzanova even further. Starting in the early 2000s with their own productions, they perfected their twisted synths and whacked out baselines on a slew of remixes brought together on "Got the Bug"(2004). Their penchant for merging funk, 80's magic with modern broken beat and nu jazz grooves was refined for their sophomore "Back in the Doghouse". They brought the goods with tight production and a range of vocalist- Mpho Skeef, Michelle Escoffery, Yolanda Quartely and Don Ricardo. However, the secret weapon that runs through this long player are the vocals of Brazilian- Londoner, Bembe Segue. Her stylings play jazzbrat meets Brides of Funkenstien for most of the backing voxes and a couple of uncredited leads. The album runs the stylistic gamut from Brazilian Batucada to Parliament-Funkadelic to Breakbeat, some Tribal House, Afro-beat and a surprisingly great Dance-hall remake of Yarbrough & People's 80's classic "Don't stop the Music". It's an album that's unpretentious and offers a stylistic variety, merging all that is good from the last 30 years of dance music. Highlights include "Knocks Me Off My Feet", "Consequences", "Booty La La", "Don't Stop The Music", "Once Twice".

Alice Russell- Pot of Gold

2008-12-26T14:27:00.000-08:00

The former First Lady of Tru Thoughts re-emerged in 2008 after much touring. ‘Pot of Gold’ is a fine sophomore effort on her own label Little Poppet/Six Degrees. This time out Alice delivers a “live” sounding set reminding us of her work with Will “Quantic” Holland and his Quantic Soul Orchestra. You may be used to hearing Alice sing over tracks with glitches of futurism and programming but this time out it’s straight live funk and it holds your attention, mailnly because of that set of pipes she unleashes. The opening two funk stormers lead the herd out the gate. Strings and tight drum snares set the tempo for upbeat 4/4 rhythms reminiscent of Stax label soul-“Turn and Run” and “Two Steps”. From there she jumps to a bit of Afrobeat on “Living the Life of a Dreamer”. This is where you realize the ensemble cast of supporting players, from the horn section, to bassist- Alex Cowen, to violinist- Mike Simmons truly feel what they are putting down on tape and are truly talented musicians. “Let us be Loving” is one of the other highlights that simmers with slow building funk and finally explodes on each chorus. There’s the smoldering Gnarls Barkley cover of “Crazy” that is just as classic for it’s approach in arrangement. She revisits samba on “Universe” and the album closer “All Alone” sums up her views on our trajectory…”Look the city streets are burning. Everyone of us looks on. Seems our minds were meant for turning…Turning on.” It’s that voice ultimately, that really is incomparable no matter how many flavor of the moment comparisons are out there. No one, but NO ONE can fake what Miss Russell has. There are no gimmicks, no tabloid fodder, nothing dramatic about her life. It’s all in THAT voice, music and phrasing of lyrics she shares with us. If you ever read this Miss Russell “Thank you” and please don’t stop. For the rest you, let this be your starting point to delve into her back catalog and check out what you’ve been sleeping on.

Martina Topley-Bird "The Blue God"

2008-12-23T17:07:00.000-08:00

Abstract beat chanteuse Martina Topley-Bird returned in spring ‘08 with her eagerly awaited sophomore offering “The Blue God”. While its safe to say she’s lost nothing vocally, she’s sonically pulled a 180 on us. What’s apparent is how pop the album sounds which has everything to do with Danger Mouse infusing his 60’s retro vibes all over it. I don’t mean bad pop either, the noir-ish vibe that has been part of her vocal delivery and lyrics are still present. Remember the cinematic “Quixotic” closer “Stevie’s (Days of a gun)” with it’s looming homicidal ending? Instead of picking up where she left off she delivers a contrasting upbeat intro on what is one of the best songs on “The Blue God”- “Phoenix”. It's still brooding but there's a hint of optimism. It's a wonderful opener declaring transformation, strong will and a need to move forward. With such a strong intro I questioned if the rest album would be as good. The first single “Carnies” follows and keeps the momentum. It’s all retro noir and with most songs under three minutes it never overstays it’s welcome. Other highlights include humming and improvising of “Da Da Da Da”. “Valentine” is the only traditional ballad and easily on par with “Soul Food” from the previous release. “The Blue God” closes with more abstract numbers that are reminiscent and brilliant as her work with Tricky. "Razor Tongue" is a scathing resignation from a relationship that starts off as a whisper and then erupts into a howl. If you get a chance look up her performances from the Montreaux Jazz Festival and you’ll see that she’s evolved from mere muse for Tricky to a talented musician with a vision in her own right. If you need a little push the album is on sale at iTunes for a mere $6. (Fluke? I don’t know but it's worth nabbing before they find out.)

Sérgio Mendes & Brasil '66- "Herb Alpert Presents..." "Equinox"

2008-09-11T08:46:00.001-07:00

One of my most vivid memories of music making it's indelible mark on me was hearing Sérgio Mendes and Brasil '66. I was four. My mother was an avid lover of music and always had it playing while working simultaneously. It kept her company and kept me calm. While I didn't exactly know what their lyrics were saying, I enjoyed the wall of sound their harmonies provided and learned the words phonetically. There were more traditional and established Brasilian musicians that helped birth the genre in late 50's (Joau Gilberto, Caeteno Veloso, Astrud Gilberto and Tamba Trio), Sérgio Mendes succeeded in bringing the bossa nova rhythm to popular music mixing songs in both English and Portuguese. Mendes, with the help of Herb Alpert skyrocketed to popularity with music that was cool, classy, cosmopolitan and refreshing. It's no coincidence that the opening track on "Equinox", "Constant Rain" fades in as if your approaching the sextet performing flaunting smooth vocal harmonizing and sitars. Songs like the detached and distant "Cinnamon and Clove" and "Watch What Happens" are so distinctly retro they're refreshing. The American standards "Night and Day" and "Wave" fare pretty well to balance out the album and make it more mainstream. Remakes would eventually become a part of the formula on each album. "For Me" is probably the most distinguished song on "Equinox" with its staccato piano verses that build and explode into full samba for each chorus. As for the first album "Herb Alpert Presents Sérgio Mendes and Brasil '66", "Slow Hot Wind" is my favorite with it's spy flick guitar and dubby reverb treatment of the rim shot. That coupled with Lani Hall's vocals seals the deal. Their take on "Mas Que Nada" is also classic. Forty years later Equinox and "Herb Alpert presents..." are landmark albums that presented the public with an opportunity to escape modern American life and slip into a world of sun and tropical optimism.

Two Banks of Four (2bo4)- Junkyard Gods

2008-09-09T21:06:00.000-07:00

After a five year hiatus mostly spent touring the overlooked yet moving "Three Street Worlds" LP, the Banks return with a glitchy, electro rub down for their sophomore set. "Junkyard Gods" sees Rob "Galliano" Gallagher and Dillip "Demus" Harris strip down to basics a bit more. The fabulous and underrated Valerie Etienne and Bembe Segue split vocal duties once again. This time Valerie's touring time with Matthew Herbert seems to have influenced the 2bo4 sound a bit more, allowing glitch and abstraction to reside in many of the jazz anthems. Especially on the title cut where blips, bleeps and circuit hums seem hellbent on supporting the chaos that has our protagonist ranting against the "machinery of night. "How much more time can there be to let it out?". The electro glitch creeps in on classic spiritual jazz jams like the classic "Shadowlands" where choral chants are proclaimed and swaggering bass lines domintate. The bold declaration of "Flags and Words" skillfully combines classic 70's jazz and protest speak with a modern drum & bass twist(which I'm sure made 4hero take notice.). These songs round out the duets for Val and Bembe. To prove the Banks are worthy of there takes on spritual Jazz referencing they close the LP with a meditative rendition of Sun Ra's "Lights on a Satellite". Stripped of backing track and reduced to the dialogue of communicating flutes it's an contemplative closer. It's a great album that will transport you to other places and at nine tracks leaves me wishing there was more... http://www.2bo4.com http://www.sonarkollektiv.com/data.pl?artist=1882

Bah Samba- 4

2008-08-21T21:27:00.000-07:00

By now Alice Russell’s voice is no secret. Her voice has set many a composition on fire through work with Quantic, Quantic Soul Orchestra, Bonobo, Nostalgia 77 and others on Tru Thoughts. She possesses a voice of invigorating energy and incredible depth. While Alice has collaborated with many before she finally graced us with a remix compilation('Under The Munka Moon') and her first solo album ('My Favorite Letters') she was a part of Bah Samba. This double sophomore set opens with a fiery take on Teena Marie’s ‘Portuguese Love’. Her fierce performance never wavers throughout the rest of the first disc. Spread out over two discs the first is a funk fueled disco burner that includes the funk romp 'Soul King' and the disco of 'Everybody get up'. The second disc is a more mellow set that shuffles through bossa nova('Inner Soul') and laid back jazz('Coming Home') revealing a softer Alice. The exception is the Latin disco of 'Calma' which features Isabel Fructuoso. The majority of tunes are danceable jazz/funk fusions. A great soundtrack for summer afternoons. If you can't get enough of Alice Russell these performances won't disappoint.

Santogold

2008-06-29T00:09:00.000-07:00

How do you describe this album? Liken it to putting your iPod on shuffle and the variety you could possibly hear. Santogold would sound just like that. A mixture of punk, Ska, Hip Hop, Reggae Toasting, eighties Pop and Electro. It's a music lover's dream. There's references to Tegan and Sara (L.E.S. Artistes), Siouxsie(My Superman), No Doubt (I'm A Lady), M.I.A. (Creator). These references aren't intent on shortchanging the music. The tracks clearly move beyond imitation. The music and production works so well you won't even realize the song "You'll Find A Way" is on there twice. Early on the original is a ska version while towards the the end a Grime/Electro version rattles your speakers. Both are equally fun and bad ass. They each exude intensity and never lose the momentum the album easily boasts. If you can find the non LP track "Your Voice"(Which is a cover of a tune from her old band Stiffed it's well worth adding to the LP). She's pretty savvy. It's the perfect length- short enough to leave you wanting more. I look forward to her next one.

Portishead- Third

2008-06-17T21:51:00.000-07:00

Alright!!! 'Trip-Hop' trappings aside, is the album worth all the hype? It depends what side of the fence you're on. If you expect a deja-vu of prior albums then you'll be disappointed. If you expect evolution in the form of different tempos and minimal live sounding instrumentation then you wont be disappointed. It's not as terrifying as the eponymous sophomore album was(which I really have to be in the mood to listen to- and that doesn't happen too often) but it shows progression and an escape of the cliched sounds that Portishead could have fallen into. For those asking "WTF?" listen to 'Out Of Season' by Beth Gibbons and Rustin' Man and that should provide the missing link you so badly require. That album easily showcased Gibbons to be a truely talented and varied vocalist with a unique style tackling noir-ish retro acoustic backdrops. She easily sidestepped the pitfalls of "Trip-Hop diva" niche so many other groups still cling to (Sneaker Pimps, Morcheeba and Zero7 come to mind). So they've returned with a live sounding, simply arranged album that reclaims what they, Massive Attack and Tricky helped to usher in halfway through the 90's- music with no boundaries or genres to define it. It drew from every source it could get it's hands on. Old school synth, keyboards and drum machines are prevalent. Songs like the opener 'Silence' remind us of the spy flick themes of yester-year, albeit faster and more intense. The tempo of 'Nylon Smile' conjures images of our protagonist running through a dense forest or jungle trying to escape- Another person. A memory. An emotion. While the first single 'Machine Gun' seems like a questionable choice, it's brilliance strikes once you get past the jarring rhythm pattern (which in the long run adds to the song's dynamics when taken in as a whole.). The tracks are infused with a spontaneity and live feel not heard on prior LPs. The song 'The Rip' is the track that has seduced me...it's tragically beautiful, melancholic and one of the best tracks that Beth Gibbons and co. have ever given us. Ahhh..."Those white horses...they will take me away..."

Amp Fiddler- 'Afro Strut'

2008-06-17T20:40:00.000-07:00

It's been four funkless years since Amp dropped his debut 'Waltz of a Ghetto Fly'. In that time he's toured and collaborated extensively and found the time to produce his sensational follow-up 'Afro Strut'. What's clearly evident this time out is that our back-up musician turned solo artist is more focused on being a band leader. Joseph takes the reigns and trims the fat on the songs. The funk is still there but where 'Ghetto Fly' was a loose- jam oriented album this one consolidates the jams into tightly structured songs. Most of the ditties average four minutes. This is not a complaint since the musicians that he's recruited are choice players and friends from both sides of the Atlantic ranging from Detroit's Paul Randolph and Stephanie McKay, Raphael Saadiq to UK vocalists Eska and Corinne Bailey Rae, Incognito leader-guitarist Bluey Maunick and Fela Kuti drummer Tony Allen. That's quite an entourage to have listed as personnel. Now imagine them jammin'!!! Gone are the Kenny Dixon Jr. meanderings (which I had no complaints about) but one listen to opener 'Faith' and it's bottle clink percussion, wobbly guitar licks and Amp's moody keys it's apparent that his singing and playing is more confident. The juke joint sounds of 'If I Don't' is a great duet with Bailey Rae and serves as one of many reference points for his jazz/funk fusions. 'Hustle' features syrupy strings from Philly's own Larry Gold. Gold weaves his arrangements in and out of Amp's account of the struggle. Elsewhere there is a nice remake of 'Hey Joe' (yes, the one Hendrix made famous) that rocks as much as it funks. Later he cements the funk travels with some afro beat featuring Tony Allen on the kit (Wishing this one was longer instead of an interlude) which may be a hint of what lies ahead. It's precursor is the afrochant, horn-laden grind of 'Scared'. A well crafted LP. Side Note: Nothing!!! But nothing compares to seeing him live- which, if you have the pleasure of doing make sure you hold on to your drink!

Me'Shell Ndegéocello -'The World Has Made Me The Man Of My Dreams'

2008-03-09T11:42:00.000-07:00

On her 7th LP Me’Shell takes every album made and skillfully consolidates it into one of the most underrated albums of 2007. The bassist extraordinaire has traversed funk, folk, reggae, rock, jazz and is obviously on her own personal cathartic mission. Taking on suicide bombers, Muslim and Christian extremism, capitalism, sexism, and politics, she offers an interesting inner dialogue and self critique documented for the world to hear. The album only clocks in at 48 minutes but traverses such an array of styles. On the “Sloganeer” she tells the suicide bomber to “get a bang out of life” and “if you are the chosen than why don’t you kill yourself now”. Within the same song she also condemns those bible thumpers that would use religion to judge all the while musically channelling the Cure. It’s a dark rocking song that looks at two sides of the same coin. Elsewhere there is the reggae sway of “Lovely, Lovely” that breaks down with mid eastern guitar riffs. “Elliptical" is quite a piece of contemplative funk where, in the role of the otherworldly observer, Me’shell breaks out the (vocoder p-funk style) singing with Sy Smith. "I received a message from God in the form of a rainbow.". On Article 3 Meshell enlists the help of a Japanese punk rocker thrashing repeatedly at first and eventually evolving into an incantation. The song that I wish was longer “Headline” merges Rock and Funk giving way to dirty skittering electro beats that seem more D&B but are mellowed by samba piano keys. Me’shell’s ode to her son, “Solomon” is particularly interesting since she is undoubtedly her son’s father and mother. But the spoken intro is pretty moving. Meshell has evolved into this incredible artist that has no problem borrowing from genres, literature or speakers sound bytes to birth music of true originality. Too bad the world at large has not discovered her to appreciate her genius. Working with the likes of Chaka Khan, Basement Jaxx, Lamb, Zap Mama, John Mellencamp, Talib Kweli, Common, to name a few and spearheading the Red Hot and Riot: Tribute to Fela album she is a prolific artist with an abundance to offer.

Peter Gabriel- Peter Gabriel 3/ Melt

2008-03-09T11:24:00.000-07:00

It wasn’t until I purchased Peter Gabriel’s “Up” that I truly began to appreciate his artistry. The LP was a mostly dark, brooding affair with hints of self reflection and cognizance. The combination of subject matter and sonic backdrops made me curious about his earlier work. While he’s known for his mid 80’s hit album “So”, prior LPs are just as moody, dark and play more with roles and concepts. After all, that is what led Gabriel to leave Genesis to pursue a solo career. “Melt” finds him collaborating with former band mate Phil Collins, a young Kate Bush and beginning to dabble in “World” music. Opener “Intruder” is a creepy obsessive tale of a stalker observing his prey. “No Self Control” has brazilian rhythms, kalimba, and Kate Bush chanting as Gabriel’s anxious character unravels. The brilliant marching tempo of “Games Without Frontiers” also features Kate Bush and to this day serves as a critique on war considering today's political climate. Depicting war as a children s' pissing contest where they are “whistling tunes" while "hiding in the dunes by the sea side” and “ hiding out in tree tops shouting out rude names”. Gabriel’s real bridge into world rhythms and as a human rights activist emerges on “Biko”. While the majority of the album appears to traverse the fearful realm of the inner-self Gabriel concludes with a biographical song that covers the suffering and martyrdom of people outside his immediate world. Steven Biko, an anti apartheid activist, was brutally beaten and died in police custody on Sept 11, 1977 while being transferred to a jail. This album closer would lead to the more world influenced “Security” and eventually his masterful “The Passion” and “Rabbit Proof Fence” soundtracks. While fair light synthesizers may be a thing of the past, it was used with ingenuity for the time and add some pretty intriguing texture to his sonic backdrops.

Nina Miranda and Chris Franck present: 'Zeep'

2008-01-29T23:06:00.000-08:00

Zeep is the musical collaboration of Nina Miranda and Chris Franck. Both met in the band Smoke City and have worked on and off on side projects since 1995. This album re affirms their partnership and shared labour of love for Brazilian music. The album was recorded between London and Rio and has a very loose, collaborative feel as other friends/musicians from both sides of the Atlantic guest. All at once spontaneous and fun, a sense of leisure and enjoyment permeates this LP. While the LP is predominately acoustic it’s no less energetic. The structures and compositions strike a chord in your core before the lyrics resonate but that is the point. The themes all revolve around living and loving life. On the street samba march of 'Come Away With Me' a chance encounter with a passerby leads to a romantic evening of discovery. There's also the deeply beautiful samba 'Agua'. A song that shares the importance and beauty of life giving water and how as a natural resource it should not be privatized. While this may be a buffer between Da Lata albums it’s no less significant. Zeep may be the project that hints off which direction the third Da Lata LP takes. In the meantime enjoy all that Zeep have to offer as it beckons the spring and summer to arrive soon. Check out Zeep: Far Out Recordings- http://www.faroutrecordings.com/ Check their Pod Cast on iTunes.

Isoul8- 'Balance'

2008-01-29T22:59:00.000-08:00

I have not heard from Germany’s Jazzanova in quite some time and while they have finally set up their own label independent of Compost Records, the distribution to the States has been limited. Luckily their new imprint, Sonar Kollectiv, has released plenty of material through digital downloads (This album being one of them.). I was surprised to find it was a pretty mellow affair. Not quite the broken beats I’m used to hearing from the Sonar Kollektiv camp. What it offers though is some of the best, sensuous and deepest late night club music you’ve heard in a while. Strictly rooted in a groove and jazz funk. It shares just as much with the music of Moodymann and Theo Parrish. Every song is pretty much a 12” single. Italy’s Enrico Crivellaro is the mastermind and the puts in the attention to detail. While the majority of songs are 4/4 rhythms it’s pretty clear that each song can stand on it’s own considering the guests he’s chosen. The song that hooked me in was the opener ‘Give It Up’ which features Galliano, 2 Banks of 4 vocalist Valerie Etienne. It offers the listener six minutes of mellow latin-house bliss . The songs that ensue are all just as worthy of time beyond radio format and they deliver. Vocalist Rasiyah ‘speaks her word’ and eventually conjures up Jill Scott in the end while House veteran Osunlade bangs out beats on 'Speak Your Word'. She follows up on the mellow Naked Music styled 'So Simple'. ‘How I Feel’ rehashes a bit of electro. The album closer and only poly rhythmic track, ‘A Silent Force’ features Kaidi Tathum (Bugz in the Attic, 4Hero) working synth magic on keyboards. Definitely worth a listen. Check out samples at: iTunes Soul Seduction- http://www.soulseduction.com/common/item_detail.php?ItemID=163482 Sonar Kollektiv- http://www.sonarkollektiv.com/artists/ISoul8/

Rotary Connection- Black Gold: The Very Best Of

2007-12-31T19:06:00.001-08:00

The Rotary Connection may not ring a bell with very many people today but drop the name Minnie Riperton it will more than likely elicit a response. One of the most distinctive vocalist of the latter 20th century, Riperton, in her short time on this plane, was noted for her five octave range. A skill that would later be utilized, in a more brash way, by Mariah Carey. The difference, however, is that Riperton was not only an r&b musician. Her compositions encompassed folk, rock, funk and disco. Her earlier ventures and experimentation began with the Rotary Connection, a group of adventurous Chicago musicians that were a product of the experimental 60’s. Under the guidance of young Chess label head Marshall Chess they drew from all sources of music like many groups of the time. Part 5th Dimension, Jefferson Airplane, Sergio Mendes and Brasil ‘66 and part Beatles, they wholly took advantage of everything they had around them incorporating swirling chamber strings, sitars, vocal harmonies and playing with the output of speaker channels. If the music described sounds very cinematic add to that Minnie’s voice which on the first outing was utilized as more of an instrument. It is believed had they played Woodstock instead of taking a festival in Toronto for more pay they would have broke out of obscurity. Never achieving the iconic status they deserved they disbanded after five albums. Eventually Sidney Barnes would go on to record solo and Minnie would make her Rotary influenced and overlooked classic “Come To My Garden”. After finding success she would eventually succumb to cancer at the early age of thirty one. Their music did not fall on deaf ears as thirty years later Hip Hop and Dance artists would appropriate their music for a new generation. Most notably Nuyorican Soul would remake ‘I am the Black Gold of the Sun’, The Fugees and Tribe Called Quest would sample from ‘Memory Band’ for ‘Killing Me Softly’ and ‘Bonita Applebaum’ respectively. Chaka Khan would remake ‘Love Has Fallen On Me’ and Common would borrow from it for his track 'Driving Me Wild'. Giles Peterson dug out the Riperton classic ‘Les Fleur’ for his INCredible DJ mix and 4Hero would remake the song and expand on it by extending the instrumentation and bringing in Carina Andersson to channel Riperton vocally. With no less than thirty three reasons to convince you why this group was more than deserving of success, this collection takes a pretty in-depth look at their eclecticism. The opening track ‘Magical World’ relates their mantra. As Riperton’s vocal rides rousing strings and harp, a hi-hat and horns keep time while Minnie chronicles her vision of nature, peace and acceptance. Its a utopian place where she declares “anyone I want to love I love and no-one cares”. No doubt a reference to Minnie’s love for band mate and future husband Richard Rudolph who was caucasian. The band’s racially diverse line-up was quite unique and ahead of its time as the Civil Rights Movement was in full swing. Another stand out is the remake of Otis Redding’s ‘Respect’ which is so mellow and smooth it’s practically unrecognizable until the chorus comes in. There are other band members taking lead and Sydney Barns turns in a great performance on ‘Didn’t Want To Have To Do It’ and ‘The Sea And She’ with a voice akin to a soulful Brendan Perry from Dead Can Dance. Vocalist Judy Hauff is brilliant on ‘Love has Fallen On Me’. They do a great cover of Cream’s ‘Tale of Brave Ulyses’. Going on and on about the songs is a mute argument if you see this double disc set it’s worth every penny*. Just listen. There is some of the best pop/psych/rock/folk/soul music has to offer...shaken not stirred. * Order at www.dustygroove.com

Carl Craig- More Songs About Food And Revolutionary Art

2007-11-28T20:12:00.000-08:00

Even when I left California for Detroit I already knew of the Detroit Trinity- Kevin Saunderson, Derrick May and Juan Atkins, as being the progenitors of the sound that would embody and define Detroit in the late eighties early nineties. A sound that expressed the hardships and industrial backdrop of a city that has always had the potential to be more. After all Motown, Parliament Funkadelic, Jazz stars like Alice Coltrane and Marcus Bellgrave all came from the "D". I came to hear of the second set of torch bearers- Richie Hawtin, Jeff Mills and Carl Craig through local events. In 1996, held up in my studio late-night painting, I discovered this LP and the genius of Detroit's second wave of Techno artists. After hearing Craig play an art opening I became invested in the musical experiments of locals and those with an ear to the ground in the arts picked up on this as well. No longer was Techno relegated for warehouses and raves. It could be just as rewarding appreciated without drugs or being in a vacuous space. Each time I listen to this LP it takes me back sounding fresh and modern as the day I first heard it. "Songs" is very much rooted in the future. This music is the embodiment of the Techno genre for all the variety and textures it reveals. There are some 4/4 rhythms on the LP but there’s so much more. Hearing the ambient opener “Es.30” informs you this isn’t your standard electronica. This is music of experimentation and uncharted territories. "Televised Green Smoke" starts off with programmed samba rhythms and then changes up to introduce backwards synths, crisp hi-hats and warped phat bass lines Parliament Funkadelic would have been proud of. Elsewhere you can hear the influences of Blade Runner and Giorgio Moroder’s “Midnight Express” soundtrack work(“Red Light”). Straight Techno (“Dreamland”), House(“As Time Goes By”) and Jazz(“Attitude”). It also holds the classic track "At Les" which would later be remade on his Innerzone Orchestra LP. It’s the soundtrack to plots of abandoned burned out houses, crumbling historical buildings, various street fairs like Dally in the Alley, the Taste Fest or the Fourth Street Fair. It’s the sound of driving around Bell Isle or the riverfront where the Cement Space used to throw raves or the Packard Plant or Altas Building where Hot Box Parties would run through 6am. The sound of the Russell Street Farmers Market where every Saturday morning you’d see fellow Detroiters purchasing flowers, produce and hot cider- even trying to cram into Russell Street Deli. It’s about Zug Island that resides down river and is a toxic reminder of how a society that depends on one industry alone is doomed. Listening to this you hear the now and the future and for those that live there it's what keeps the city going. It’s the potential and the promise. I often refer to this album as Carl Craig’s love letter to Detroit. Every time I hear it a variety of moods pass through me but ultimately the feeling I receive from it is adventurous. It’s an escape. I miss the Chocolate City. Work it out Detroit!

The Cinematic Orchestra- Ma Fleur

2007-11-28T20:06:00.000-08:00

The third full length from Jay Swincoe and Co. sees them live up to their potential of soundtrack work for a film that may or may not be made. Inspired by a series of photographs and three conceptual characters representing the life stages of youth, middle age and an elder, Ma Fleur sails the waters of existentialism. This time around the Cinematics play with more folky arrangements. Where the past two prior albums toyed with FX, knob twiddling and samples significantly more, this LP is a quiet storm of an album. It is intimately organic and the characters that are introduced through the vocals of Patrick Watson, Ex Lamb vocalist- Lou Rhodes and the return of the ever magnificent Fontella Bass are endearing without being overly syrupy. Album opener "That Home" may surprise you with how acoustic the style shift is but hang in there. The “sound” of the Cinematic's is there...evolved. “As The Stars Fall” is a magnificent clanging of drum rolls, electronic synth and stand up bass that reminds of us of the Cinematics of yester-year. The real clencher is “Breathe” in which our oldest protagonist speaks of crossing over to the other side- made all the more intense knowing this may well be Fontella Bass’s swan song as her health is waning. Where “All That You Give” was about missing her late husband Lester Bowie, “Breathe” seems to be about rejoining him. Album closer “To Build A Home” finds our youngest protagonist in transition to middle age with a partner reprising the opening number. The lyrics are quite concise and sparse and while this album comes and goes in a mere forty nine minutes, it’s surprising how much it leaves you with. I’m only sorry it took me so long to acquire it.

Antibalas- Security

2007-11-28T19:58:00.000-08:00

Back again on the music scene with a new album on a new label. The nomadic New York ensemble Antibalas (Bulletproof) pull out the stops on their most interesting release to date. This album is less vocal but sometimes less is more. Opener “Beaten Metal” rides on a wave of clanging percussion as call and response horn arrangements usher in a variety of other elements. What you think is the rhythm ends up being upstaged by another element of the track that has it’s own. Every element of this track is riding it’s own wave and when it all seems to sound like discord it somehow comes together with the bass line. Do you follow the hand claps, the horns, the percussion, the rhodes? The tempo shifts on this track alone make it one of the more rewarding listens. Filibuster X kicks into high gear with swirling organs as Amayo’s vocals channel Fela Kuti contemplating the real meaning of the acronym G.O.P.(Greedy Old People,- Gasoline, Oil and Petroleum) to hilarious effect. Sanctuary mellows a bit but it’s soft bed of beats and chorus of brass prepare us for contemplative rhodes and xylophone. The album slows down to reggae proportions but that has always been the charm about Antibalas. They are a great embodiment of New York. A little bit of this, a little bit of that. Influences range from Salsa, Afrobeat, Reggae, Hip Hop. This time around Antibalas have taken the strengths from previous releases and consolidated them all onto this aptly titled LP ‘Security’.

2007-11-10T22:33:00.000-08:00

M.I.A.- Kala Alright there’s been many a review about this album so since there’s a plethora of sources I won’t waste your time...Here’s the break down. This album is a must...there is no one like Maya Arulpragasam. There ‘s no one that sounds like her either. The beats and sounds are international. Anyone who can mash Wrex N’ Effex, freestyle, Aboriginal Didgeridoo sounds, Bali chants, Bollywood disco, New Order, the Clash, along with politics to "pull up the people pull up the poor" (globally) has nothing to justify to me. I’m hooked. Probably the best DIY, global feminist post 911 album to date! I’m almost glad she wasn’t allowed into the country to work with Timbaland. We wouldn’t have this globe-trotting classic otherwise.

2007-07-29T11:09:00.001-07:00

Karin Krog- Raindrops, Raindrops In 2003 studio virtuoso Matthew Herbert remixed Karin Krog’s “Meaning of Love” for independent label Crippled Dick Hot Wax. A year later that label compiled a hefty amount of Krog’s tracks from a slew of rare Eps and LPs entitled “Raindrops, Raindrops”. Karin Krog is a Norwegian jazz vocalist who is versatile singing anything from jazz standards, improv, eastern sprituals to abstract jazz compositions. “Rain Drops Rain Drops” makes a compelling case for a vocalist who made some great recordings that were ahead of their time. Working with American Jazz greats Dexter Gordon and Archie Shepp reveals that commercial success was not a priority. The original version of “Meaning Of Love” opens this compilation. It’s all at once a break out funk jam and an ambient ride that's mellow and spacey with Krog’s vocal to guide you through her sonic backdrop of longing and loss. If you can find this it’s well worth it. The music is as fresh and relevant now as it was in the 60’s and 70's. Coldcut- Sound Mirrors Since Johnathan More and Matt Black had not delivered an album in almost 15 years the expectations ran high for their sophomore turn, so high they were bound to be snuffed by the press when it was finally released. Most will know them for their orchestrated driven seminal cover of Autumn Leaves or for helping break Lisa Stansfield into the mainstream with “People Hold On”. Considering their resume goes beyond LP releases they have been very much ahead of their time. Mavericks of electronica mixing genres from Jazz, Hip Hop, House, and Techno.... In the early nineties they kick-started Ninja Tune to help them release and nurture projects from artist with a similar penchant for music and creativity. They were also one of the first to incorporate visuals as part of the musical package. To sum it up the Ninja Tune crew are a full blown embodiment of the DIY ethic churning out sounds and visuals. Sound Mirrors is more than a sound bed with collaborators that range from the alt rock to classic club crooners. It’s very much a political stance and declaration of the current world climate we live in. It’s a call to arms for us to wake up , take accountability and be our own focus for change. The album is a sonic platter that's all over the board from Bhangra beats, Down tempo, Hip Hop, Afro Beat to House. It’s very eclectic. Once you get past the sounds and you start to catch the themes of self preservation, the real purpose of the IMF, Big Brother, the optimistic human spirit, pharmaceutical slavery you realize, though not pleasant, it’s an evaluation of our Western culture worth listening to. Tracey Thorn- Out Of The Woods Tracey Thorn returns from a long hiatus and resumes where the last EBTG album “Temperamental” left off. This time out she comes full circle with productions that drop her back into the 80’s decade that spawned her. What you’ll come to welcome is a rediscovery of great sounds that were offered by Yaz, Depeche Mode, the Cure and productions that are reminiscent of early House music (think Def Music Productions). "Out Of the Woods" is not a straight club banger. It’s a nicely varied LP that rummages through all the styles and influences that Everything But the Girl have traversed. Her gender bender cover of avant-garde cellist/composer Arthur Russell’s “Get Around To It” is a stand out. It recalls the Acid/Jazz House movement of the late 80’s throwing in some Cure like synths as the track builds and live repeated horns sneak in. The melancholic piano on “Easy” dubs out ushering in warped electro bass lines and old school sensibilities. “Falling off a Log” could have easily fit in with any Frankie Knuckles production with it's slow late night 4/4 track. The Charles Webster produced “Nowhere Near” holds onto the early acoustic styles of EBTG while adding electronic flourishes. “Raise The Roof” is an excellent album closer with epiphanies on life and falsettos that bring to mind Annie Lennox. In the context of a pop album, its just as good as anything EBTG have ever done. It' a great album that sounds all at once retro and modern. Hope she doesn't wait so long to deliver the goods next time.

2007-07-02T11:48:00.001-07:00

LAMB- Lamb LAMB- Best Kept Secrets(The best of 1995-2004) Almost 12 years after their debut this disk managed to capture my attention once again. Though the group has since disbanded and Louise Rhodes has managed to go solo as a folk musician, one cannot deny that her penchant for crafting songs in the folk tradition began here. The album is rooted in jazzy electronica and fat double bass lines but Lamb were more than Drum and Bass or trip hop fodder. Their debut easily beat out Portishead’s sophomore release and Everything But The Girl’s Drum and Bass-lite productions. They supplied stand out edgy production and endearing lyrics by Lou that would balance out Andy Barlow’s menacing and complex production. Not since the release of Nicolette’s “Now is Early” had there been a Jungle/Drum n’ Bass fusion album so ahead of it’s time. (Yes I went there.) Hearing the sounds of this album years later the production is still original and challenges any new trend of music that’s come out in recent years. It’s not about the genre as much as it is about the attention to detail and craft. While the follow up ‘Fear of Fours’ still retained the production values of their debut. Rhodes went through some growing pains vocally. Attempting to sound much like the vocalist mentioned above at the cost of losing the innocence and plaintive singing style that made her songs digest so well. Don’t get me wrong, more than half the songs are choice but it was clear some exploration was taking place by both members. That is why there greatest hits package “ Best Kept Secrets” is worth while as well.(shameless plug) Rhode’s honed her vocal skills and came full circle for the remaining two albums they released. And while I stopped with Fear of Fours. Hearing the remaining released cuts from subsequent LP's makes me want to resume purchasing long players like “What Sound”. “Gabriel” is one hell of an electronic ballad! But I digress...Tracks like “Gold” which incorporate double bass, hard beats and playful vibes are hard to resist. Opener “Lusty” is just as futuristic and ethereal now as it was 12 years ago. Also the classic 'Gorecki', their most moving track, canonized in the movie Moulin Rouge (which I didn’t care for with it’s fast paced MTV style cinematography) as being the electronic music contribution to the storybook of pop music confirms their complex rhythms have not fallen on deaf ears. Folk-y tracks like “Zero” and “Feela” belie Rhode's true musical aspirations. She's written moving heartfelt songs that are simplistic and uncluttered by beats allowing for their depth and longing to be felt. They were also a foreshadowing, a blueprint of what has become of earth mother Rhode’s music career, resulting in her solo- “Beloved One” on her own Infinite Bloom label. Lamb is a trip into the past worth taking.

Two Banks of Four- "Three Street Worlds"

2007-06-11T09:02:00.001-07:00

An invigorating album that beams with hints of experimental, free thinking jazz sensibilities (and groove). Most of "Three Street Worlds" bares the flavor of yester-year jazz label Impluse! (very late 60's early 70's experimental). You can hear bits of Pharoah Sanders, Alice Coltrane, even the Rotary Connection in this. Some of the founding members of the jazz- funk Brit band Galliano are behind this collective release so it's easy to understand how it sounds somewhat groove oriented. Valerie Etienne's vocals are as brilliant as ever. It also features outstanding vocal contributions from Bembe Segue and Paul Jason Fredericks. Every song is an adventure. From mellow to more energetic. It's a contemplative, moody- melancholy affair that increases in beats and energy as it progresses. Think post club music that can usher in the morning, such as the opener "Two Miles Before Dawn", the instrumental tempest of sax winds brought about on "Bird Monster", the Superfly urban strut of "Endless", to the 3am broken beat spritual jam chants of "Rising". The effort and attention to detail put into this LP reminds us that fusion is alive and well...it's music that is beautifully realized.

2007-06-01T21:57:00.000-07:00

4hero- ‘Play With The Changes’ 4Hero was known primarily for helping usher in the drum and bass movement in the UK. It was the group’s ‘Two Pages’ album that found them connecting the dots between electronica, jazz and soul. The definitive moment came when they were commissioned to remix an obscure Rotary Connection remake by Masters At Work/Nuyorican Soul entitled ‘I Am The Black Gold Of The Sun’ in 97. 4hero not only expanded on MAW’s version but incorporated more elements of the original and ultimately blew the lid off by bringing Drum and Bass midway through the mix. As label mates on the oversees Talkin’ Loud label they shared a desired passion and sensibility for classic experimental soul music regardless of genre. 4hero’s next album saw them rewrite their musical affinities by producing an LP of Soul, Jazz and Electronica fusion. Their dedication to classic soul reached a pinnacle when they covered the flower power epic ‘Les Fleur’, originally by Rotary Connection’s star Minnie Riperton. They not only augmented on the string orchestration of the original but channeled Riperton through vocalist Carina Andersson. I kid you not she sounds that similar. I thought they just lifted the vocals from the original. This release was epic and closed out the ‘Creating Patterns’ LP which also included contributions from the likes of Ursula Rucker, Jill Scott, and Sylk 130 alumni Lady Alma Horton. ‘Play With the Changes’ picks up where the ‘Les Fleur’ left off. Once again paying homage to Riperton with their own original ‘Morning Child’, the album begins it’s balancing act that provides an interesting listen. This time out the LP bounces back and forth between each member’s taste and influence in music. While there isn’t anything as distinctively psychedelic and soulful as the opening track the album delivers the goods through a variety of styles heard through the soul spectrum. The bounce of Lady Alma’s ‘Gonna Give It Up’ is as funky as you can get. Ursula Rucker returns and delivers relevant speak over cosmic jazz on ‘The Awakening’. Brazilian vocalist Bembe Segue gives it up impressively with jazz brat vocals on the post broken beat vibe of ‘Something In The Way’. Darian Brockington also croons on the sensual ‘Give In’ and later delivers his best Stevie Wonder on ‘Superwoman’. Jack Davey declares her autonomy over a bed of laid back beats and bass squelches on ‘Take My Time’, while Jody Watley gives a stellar performance which ranks high with anything she did in the eighties on ‘Bed of Roses’. 4hero’s ‘Play With The Changes’ does exactly that.

2007-04-18T21:49:00.000-07:00

Lewis Taylor- The Lost Album. One has to wonder what happened to Lewis Taylor? The Lost album is in reality suppose to be Taylor’s second album. But considering his masterpiece Stoned, which was also released three years before it saw a US debut, it’s our second opportunity to hear what this now retired artist really has to offer. And sad to say it’s our loss that we didn’t get to hear everything he released from the get go. Taylor’s new direction shouldn’t be a surprise if you bought Stoned. That album’s closer “Melt Away” could sit easily in the “The Lost Album’s” set of songs. Diverting a little from the honeyed soul of his other albums “Lost” still retains the feel, it’s just channeled differently. You hear the Brian Wilson and prog rock qualities from the 70’s a bit more. There are also great reinterpretations of other songs from other albums that were to follow. “See My Way” eventually birthed “Party” from Lewis II( Taylor’s re submitted sophomore LP to Island Records after they heard the Lost Album tracks and decided they wouldn’t release this). ‘Let’s Hope Nobody Finds Us’ was later rehashed on Stoned Pt.2 in a completely different and more electronic version. The music is superb and one can see why he has been compared to Prince and Marvin Gaye. Not so much for the sound but for the quality of his musicianship and restlessness that fosters him to just make music. The last few tracks on this reissue are acoustic tracks from his debut album which is also superb. This might be a hint at what may be in store for the buying public. So if we are ‘Lucky’ maybe we’ll see another reissue and a renewed Lewis Taylor coming out of retirement. I sure wouldn’t protest and I’m sure there are plenty who would agree.

2007-04-18T21:39:00.000-07:00

DJ Krush- “Stepping Stones: The Self-Remixed Best- Lyricism/Soundscapes” With output spanning over a ten year period, DJ Krush has amassed quite a back catalogue. A greatest hits was inevitable at this stage. He ups the ante of the Greatest Hits package by remixing his back catalogue. What is unique about Krush is that he never released singles per say, so his work has been based on quality albums and a devoted fan base that understand his significance to the global music scene. Not one to fall into the stereotypical cliches’ of Hip Hop, it’s attitude and essence conveyed through productions that has gained him respect from artists and collaborators alike. The 'Soundscapes' disc boasts fresh interpretations from yesteryear (excluding Ki- Oku with Toshinoro Kondo) and while these mixes are superb its the subtleties that have always made his productions interesting. Songs are re-imagined so well it makes you want to hear the originals. Krush is also smart enough to know when to back off and enhance the mix ever so slightly on classics like “Kemuri” from Strictly Turntabalized. ‘Lyricsm’ falls a little short comparatively. All the collaborations are first rate but there is always the compromise of laying off the detailed production for the guest to rhyme or sing over. The more successful tracks that are improved upon include 'Vision of Art' with its switched up tempo responding on command to Company Flow’s decrees and 'Nosferatu' featuring Mr. Lif has overt electronic squelches between sedate beats. Anticon’s contribution 'Song for John Walker' boasts old school breaks backing their frank dissemination on corporate government and skull and bones conspiracies. 'Meiso' is flipped into a more energetic abstract electronic number. It’s a great compilation. I only take issue with one track being left off. The Eri Ohno remake of John Lennon’s ‘Mind Games’ from ‘MiLight’ would have been a stellar addition. Aside from it’s political implications, it was a great interpretation authored by one of history’s most loved and missed peace rockers. If this would be your first Krush album it’s not a bad place to start and it’s a pretty good deal considering your your getting two albums for the price of one. It’s also a great springboard for you to delve into his back catalogue.

2007-04-14T16:56:00.000-07:00

Shirft- “Lost in a Moment” Now a days, side projects are not uncommon for artists rewarding their wanderlust. It helps them maintain and nurture creative fires that made them musicians in the first place while refusing the confines of one particular genre or sound. Nina Miranda is one those musicians. Originally part of the band Smoke City(which in itself appears to have been a collaboration) Miranda and partners in crime, Mark Brown and Chris Franck, melded the sounds of dub, bossanova, hip hop and tropicallia into a heady concoction that heralded the return of bossa nova for the new millenium. The album "Flying Away" helped usher in acts like Da Lata, Bebel Gilberto, Suba, Zuco 103 and a surplus of compilations that would saturate the market (remember “trip hop” and “acid jazz”?). Since 1995, Miranda and co. released Smoke City’s sophmore “Heroes of Nature”, joined forces with a plethora of musicians varying from Bebel Gilberto, Robert Miles, dub bassist extradonaire- Jah Wobble, Nitin Sawhney, Faze Action, Arkestra One and now Shrift. Her voice is pure innocence and seduction whether singing in Portuguese, French, English, or scatting vowels or phrases through vocal meanderings. No music is beyond her. ‘Lost in A Moment’ is no exception. While it’s very much a mood album it relies more on the vibe it conveys than lyrics or concepts. The music production is creatively and delicately handled by Dennis Wheatley from Atlas with a little help from Da Lata’s Chris Franck on percussion. The music initially comes off as dreamy and atmospheric in texture. There are a couple of surprises with tracks that are more uptempo and funky mid way through the LP ('Floating City' and To 'The Floor'). If looped film score bits, ambient percussion, sitars, samba, stretched reversed beats, and berimbau sound appealing you won’t be disappointed. First rate.

Reviews...

2007-01-06T22:21:00.000-08:00

Ammoncontact "With Voices" This release is b-a-a-a-d!!! Chancing this on the reputation of the Ninja Tune label, I had no clue this would be a vocal Hip Hop release since it wasn't on the Big Dada sister imprint. This long player has held my attention since I first loaded the mp3s. It's been some time since I've heard anything this refreshing and consistently engaging in Hip Hop. While the vibe is very reminiscent of the Native Tongues output the similarities end there as abstract beats, squelching bass lines and even bossa nova all seem to co-exist on this tiny island of a CD. I was even more surprised when I discovered the duo of Carlos Nino and Fabian Ammon reside in Los Angeles. The LP isn't so much Afrocentric as it is Humanistic and Existential. And while they come at you with great beats it's the roster of L.A. Underground Hip Hop talent that's just as impressive. From Lil' Sci on the title cut, X-Clan member Brother J on the "Drum Riders", the majestic poetry of Kamau Daaood (who respectfully declined membership from the Last Poets back in the day to start projects in Los Angeles) is pure excellence!! And that's just the beginning the album seems to get better as it progresses. The triple threat of Yusef Lateef, Dwight Trible and Prince Po on "Beautiful Flowers" is affecting while Abstract Rude's performance on the funkified "Worth It" boasts a swagger that implies cool. Imiuswi's "Love Needs No Destination To Have Made It" rounds out the final blow of solid stellar vocal tracks. There's great instrumentals sandwiched between these vocal performances while the 16 tracks clock in at barely 46 minutes you may find yourself questioning where all the time went. Just hit the repeat button!! Jhelisa "A Primitive Guide To Being There" Travelling, rebirth and resilience of human spirit... "A Primitive Guide To 'Being There'" is an album that bubbles with restlessness even if it is sometimes restrained. This affair is not just a downtempo one as "live" instruments really play a full part in most of the mix. The album opener "Freedom's Land" immediately reveals her stance and it's no coincidence that a Civil Rights song would be at it's core. Other numbers shift tempos and unfold within their duration. The slow bass swagger of "Culture of Silence" may hint at complacency but ultimately explodes in a vocal cry for resolution in double time tempo hinting at brokenbeat rhythms. "Far I Have Come" is a majestic proclamation of life which brings to mind acceptance, peace and African sunsets through meditative percussion. Throughout this LP there are nods to House music, Eastern music, Hip Hop, Electronica, Brazilian Batucada, Blues and Folk all topped off with vocal arrangements which blanket the listener in sound. It may sound overindulgent but it's crafted very well in her hands. This rootlessness is what makes each Jhelisa long player so unique. Travelling and utilizing all resources, she's a conduit for genres and cultures she's experienced. While the album is nine tracks long don't let that put you off. There is plenty of substance in the arrangements and her "harmonic designs" to occupy with repeated listens. NOTE: A limited edition DVD is featured depicting the making of the album, originally titled "The Discovery of Amazing", up to the time they had to evacuate New Orleans. It's a nice companion piece to the album showing collaboration with local musicians and a little bit of New Orleans culture. While evacuating some of the source material for the album was lost thus resulting in a renamed album. Recloose "Hiatus On The Horizon" This album seems a little more played down than it's predecessor. 'Cardiology' was an album that stretched songs out and played with build ups significantly more. So my only gripe would be there isn't enough of that this go round. That, however, is a minor complaint. The downtempo tracks really shine on this. He definitely makes use of the space available to work with...stretching samples and bass lines that really shine on these numbers, especially with headphones. Bringing a bit of electro, funk and jazz. "Still Beyond Me" is a great example and one for the repeat button. Aside from Hollie Smith's great vocal the beats, keys, guitar licks and horns are a real treat. The house tracks that are good are A+. The album opener "Landed" is such a slice of funk that you can't help but wanna crank it up. It ranks up there with his "Soul Clap 2000" track from the Spelunking ep. Joe Dukie does a great job on the first single "Dust". Chicoine's love for jazz really shines through on his take of 'Makutu Man'. 'Mana's Bounce' even flaunts a little Ska. The album closer 'Why I Otta' is great track and return to the stretched out production of the past. It's a appreciable trek through latin percussion, bass line, horns and a tweaked vocal that shows deft skills at gradually building a track. The album definitely grows on you the more you listen. While I don't think its superb it's still pretty damn refreshing!! Makes me look forward to his next release. You know he's got a lot more to offer. The Brand New Heavies "Get Used To It" I actually thought this day would never come. By the time "All About The Funk" with Nicole Russo came out I was sure we would never see N'Dea reunite with the Heavies...But the stars must've been aligned. Once of the forerunners of the Acid Jazz movement after Soul II Soul made a splash, the Heavies have had a difficult time getting anything released in the U.S. There last albums were import only status. Early hits like "Dream Come True", "Dream On Dreamer" and "Stay This Way" may ring bells. Their music definitely strikes a chord with a specific group who remembers their retro brand of funk enough to miss them almost 15 years later. This LP still proves their relevance as they are no less vital and sorely missed considering the music industry's decline in musicianship. This album is a welcome surprise. It feels less polished. It's nice to hear the rawness of lead, N'Dea playing drums on "Sex God". "Music" sounds like the only song that may be programmed but it's live elements are just kickin'!! "Get Used To It", "Love Is" "I Don't Know Why" are solid. They did a great job lyrically and musically. I am not knocking past contributors like Siedah Garrett or Carleen Anderson. I truly enjoyed "Shelter" and "Trunk Funk" with Carleen's contributions. Every vocalist they've had have more than held their own but it's so great to hear them together. Welcome back!!! If you want a change of pace with RnB or Soul this won't disappoint. Did I say it was great to see/hear them back together?