Category: afrobeat


I first heard of Nubiyan Twist when I went to see Joe Armon-Jones at The Crescent in York last November, as Joe introduced the band he got to bassist Luke Wynter he said he was in Nubiyan Twist from Leeds. My first thought was that’s a great name for a band and that there was another potentially great band coming out of Leeds. It turns out I was right this is another great band coming out of Leeds (though now based in London) and what’s more another great band that met and formed at Leeds College of Music. Leeds College of Music is a respected music education institution in the UK but if it keeps on producing the amount of quality bands it is currently it will become world famous and rank alongside the likes of Berklee in the USA.

But I got off the point for a while there It’s time to get back to talking about the music of Nubiyan Twist and their album “Jungle Run”. On the bands Facebook page under Band Interests it says “To encourage artistic and social unity between different cultures and musical styles.” This is definitely a mission statement the band achieves on this album, they combine the disparate styles of dance music (including House and Drum ‘n’ Bass), Dub, Latin, Afrobeat, Ethio-Jazz, Hip-Hop, Turntablism and Soul into a potent stew of sound. This is quite an achievement considering the band has ten members And also joined in this album by guests Nubiya Brandon (vocals), Tony Allen (drums) the inventor of the rhythms of Afrobeat and Mulatu Astatke (vibraphone) the inventor of Ethio-Jazz. I have to admit that I am very jealous of the fact that the band gets to work with two giants of African music. Another achievement is to not be subsumed by those legends on the track states they contribute to this is a band with a clear identity and incredible musical talent to boot. Bandleader Tom Excell also produced the record in the bands own studio in Oxfordshire in the UK and it’s an impressive feat to say the least to build to get all these competing instruments and talents to play nicely in a mix. This isn’t just an impressive album it’s a lot of fun to the irresistible beats make impossible for you not to dance and the catchy choruses will be in your head in no time.

I know I’m probably repeating myself here but it’s hard to overstate how incredible this album is not only as a musical achievement but something that truly represents what music can be in the 21st-century. This is an album of the Internet age don’t get me wrong there are albums made fused cells are music together before the Internet age but “Jungle Run” is something only truly achievable in a world where you can access any music at any time with the click of a button. This is a real Album of the Year contender and definitely check it out.

Let me know what you think of “Jungle Run” in the Comments.

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This is Part One in a series of posts rounding up my favourite releases of the last three months and writing about them. Part Two will be published next Saturday.

Yak – “Pursuit of Momentary Happiness”

An early contender for Album of the Year comes from this English psychedelic rock band. Yak don’t just recycle the psychedelic (colour projector) wheel this is an album of well produced punchy and catchy songs that don’t out stay there welcome while still having the depth of albums with much longer cuts. Even when they do go long such as on album closer ‘This House Has No Living Room’ (which features J.Spaceman aka Jason Pierce of Spiritualized and Spacemen 3 fame) the song is so good (not to mention a perfect album closer) that you don’t notice the track length. A highly recommended album from a band very much on the up.

 

Cotonete – “Super-vilains”

I first discovered Cotonete when they popped up on a Spotify Release Radar playlist towards the end of last year. I instantly liked this French Funk band, in fact, Spotify is pretty good at finding me groovy music from the other side of the English Channel. I suspect this goes back to all the mid 70s Serge Gainsbourg albums I’ve listened in the last four years!!! Cotonete are influenced by The JB’s (James Brown’s famous late 60’s backing band), Headhunters era Herbie Hancock and Brazilian acts such as Deodato and Banda Black Rio. It’s a potent and funky cocktail with deep basslines, punchy horns, cutting rhythm guitar and a truckload of percussion atop top notch drummer David Georgelet. This is music that is at home on the dancefloor as it would soundtrack the car chase in The French Connection or when the tempo drops it’s perfect music to chill out to. I can’t recommend this album enough and I think it will be one of those under the radar gems that gets overlooked. Don’t sleep on it!!!

 

Malibu Ken – “Malibu Ken”

Ok, so when this album was first announced late last year my initial reaction was 1) What? This is seems like a strange collaboration (Malibu Ken is a collaboration between Underground Hip-Hop MC/Producer Aesop Rock and Psychedelic Electro Hip-Hop Producer and founder of Black Moth Super Rainbow Tobacco). 2) If it works it’s could be awesome. Then I heard the first single ‘Acid King’ and watched it’s accompanying video I was excited about the potential for the album. A couple of months later the album dropped I wasn’t disappointed the album is a fantastic blend of Electro Hip-Hop and Funk tunes with Aesop Rock bring his own verbose lyrical content and amazing flow that have become his trademark since his enter to the music world with his debut album ‘Float’ in the year 2000. This album is in and out in thirty five minutes but you don’t any more music as it’s a wholly satisfying album. If this is the only Malibu Ken album that they’ll have a 100% knockout for us all to love for years to come. If Aesop and Tobacco continue to collaborate and create albums of this quality then we’ll be incredibly lucky. What are you waiting for check it out!!!

 

Cosey Fanni Tutti – “Tutti”

Cosey Fanni Tutti has been a member of not one but two great Electronic music acts first of all she was a member of Industrial music pioneers Throbbing Gristle (1975-2012) and then her a partner Chris Carter (also a member of Throbbing Gristle) formed Chris & Cosey (1981-) and pursued a soft Electro/Techno direction. On her second solo album she digs deep into dark Electro/Techno territory but with a couple of surprises. The first surprise is that while you can dance to some of the tracks on this album a majority are slower and feature thicker heavier sounds. This wasn’t what I was expecting after hearing the title track on Spotify. However, this is no negative as Tutti expertly creates these atmospheric and engaging tracks. The other surprise was the use of a Cornet as the lead instrument of the title track Tutti has played violin in the past at early Throbbing Gristle shows but as far as I’m aware the Cornet is a new instrument to her. I definitely think the Cornet adds something to the title track both adding a more human feel and more dissonance. If you like Electronic music you’ll get a lot of “Tutti” it covers Electro/Techno and Ambient music across it’s tightly packed 38 minutes and doesn’t waste a single moment. It’s the sound of veteran showing she still has plenty to offer even in an ever changing world.

Octo Octa – “For Lover” EP

This EP opens with ‘I Need You’ the most blissful ten minutes of music that I’ve heard so far this year. It’s envelopes you in it’s vocals moans and multi layered synths pads, it’s warm and welcoming and will always put a smile on your face on matter what else is going on or has gone on. Second track ‘Bodies Meld Together’ goes back to the 90’s for a breakbeat techno beat making for a hard beat but no less harmonious and luxurious synth layers and it’s a contrast that really works. The EP is rounded out by ‘Loops For Healing’ which a lilting melody with deep House chords and bass drum throb. Overall this is an EP that works thematically but each track stands alone as it’s own piece quite an achievement. Highly recommended.

 

Kokoroko – ‘Kokoroko’ EP

This is London 8 piece Jazz/Funk/Afrobeat band Kokoroko’s debut release though the band has been playing gigs together for a number of years now. You really should watch their set for The Boiler Room, I’ll embed it at the bottom of this post. The EP kicks off with ‘Adwa’ it’s funky Afrobeat shuffle and with bands every powerful horns taking the lead on this track. There is a break down for a guitar solo and then builds back into a sax solo before returning to the main horn refrain. The goes more down tempo and softer with their playing on the ‘Ti-de’ it’s a thoughtful track but never ponderous and the instruments have equal billing. There are even some nice female vocal harmonies towards the end of the track. ‘Uman’ is up next starting off a little slow but when the drums and bass kick in were back in Afrobeat territory again the horns the real leaders though this time they play sharp staccato lines. The EP ends with ‘Abusey Junction’ which originally appeared on the ‘We Out Here’ (2018) compilation that bought showcased the burgeoning and diverse current Jazz scene in London. The track is down tempo and focus more on the guitar, percussion, bass and electric piano compared with a lot of Kokoroko’s music to date, it’s an excellent track on a great EP. I ‘d really like to see Kokoroko live as I missed my chance last year and I can’t wait to hear what they deliver on their debut album, they are a band that has already shown they can be fantastic and yet still show so much promise.

 

Let me know what you think of these releases and about your favourites in the Comments below.

 

 

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A Man Alive’ is the fourth album from Thao Nguyen with her project The Get Down Stay Down (she also records as half of Thao & Mirah) and is one of the most personal to date. A large amount the lyrics deal with absence specifcally her father’s absence. These lyrics are a stark contrast to the albums thrashy party music. There is a bittersweet sense throughout the album that binds it together and rewards the listener with repeated listens as their understanding deepens and the layers are peeled away.

Merrill Garbus (aka Tune-yards) is on board as producer and contributes a lot instrumentally and back with backing vocals throughout the album. There is a lot of similarities between Thao’s vocal delivery and sonic and stylistic choices when compared to Tune-yards back catalogue. The use of lo-fi and distorted fuzzy production and funky, tribal rhythms that have a hint of Afro be about them I just two similarities. However, these similarities don’t spoil a brilliant album and is like a more direct version of Tune-yards “Nikki Nack” that sometimes suffered from overstuffing every song with elements and thus could be a very overwhelming experience. Another useful reference point is that of Deerhoof who combine serrated indie/post-punk guitars with Afro beat rhythms and poppy vocal melodies and have a similarly lo-fi aesthetic.

The album opens with ‘Astonished Man’ with a down tempo beat and vocals opening the track, then heavy buzzing synth bass joins in and push the track forward. In the chorus there’s a cool hook played by what sounds like a badly tuned guitar. Everything is very raw and lo-fi in a good way and reminds me of Deerhoof. Though Thao can create a more complex melody. Continuing in a similar vein is ‘Departure’ with its opening minimal sound set just a drum machine some percussion and vocals but then we get stabs of guitar and a deep thick synth bass joining in. At points in the chorus vocals to become a little grating and recall that of Garbus’ wI personally I don’t have a problem with Garbus’ vocals but I understand how they can annoy some people. ‘Departure’ is also the track where the lyrical theme begins With the shouted line “Half of all my blood in vain,” standing out. ‘Guts’ with its down tempo sparse beats and organ the only things accompanying the vocals, continues the lyrical theme with Thao stridently declaring “I’ve got the guts/ I don’t need my blood.”.

Next up is ‘Fool forever’ which opens with a tightly wound guitar playing across fast skittering drums while the vocal moves steadily over the top. This then breaks down temporarily before the riff returns to be joined by another riff played on very distorted organ, the jittery feel of the track is amplified by these elements combining. The Ballard-like ‘Millionaire’ Recalls ‘Maps’ by the Yeah Yeah Yeahs with Thao playing the part of Karen O. That this time the word is not directed at a lover but her father, “Oh daddy, I broke in a million pieces/ That makes you a millionaire.” The song opens with a sparse guitar melody and held organ delayed chords backing an almost bare Thao. A bass drum keeps time far in the background. Around 20 seconds in with the guitar and organ making a musical change to play soaraway chords for Thao to sing a long reverberant melody over. This structure is repeated throughout.

‘Meticulous bird’ puts us back on the upbeat tip with driving drums kick in the track off. Screeching synths play, counter point to the vocals weaving in in and out of the verse and chorus. The track is little difficult to listen to at first but once you get used to it actually works very well. It also another example of contrasts of sweet and serrated views on this album.The album closes as it began with a down tempo track and also brings back the main lyrical theme on The album closes as it began with a down tempo track and also brings back the main lyrical theme on ‘Endless Love’ where Thao sings a simple melody (sample lyrics include “I’ve got an endless love/ no one can starve,” and the chorus'”I don’t want it/ I don’t want it/ Carve it on out of me.”) over a sparse bass line and beat its Garbus on backing vocals again. The track provides very mellow end to the album though this is offset by nasty fuzzy guitar solo wind its wonky way through the middle of the track.

Let me know what you think of ‘A Man Alive’ in the comments or via Twitter.

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