Tag Archive: funk


With the inclusion of this album in My Favourite Releases of the Year… so far you may see a theme developing… yes I like French music and Spotify has definitely caught on to this and is putting it in front of me on a semi regular basis. I’m not complaining as I’m discovering some great music from the Funk of Cotonete to this French Hip-Hop album by Soulence. I have enjoyed French Hip-Hop over the years whether it’s the appearance of MC Solaar’s music in the film “La Haine”, hearing Saian Supa Crew on UK evening Alternative radio shows back in the early 00’s and more recent mixes on Onra’s mixes both of French Hip-Hop and of Hip-Hop that samples French music. However, never taken the plunge and actually bought any French Hip-Hop or really explored the genre properly. I think this will change with “French Cassette” as it’s just shy of an hour of funny, funky and very French instrumental Hip-Hop.

“French Cassette” is a celebratory album and it’s celebrates both cliches about France and the French and the Boom Bap era of Hip-Hop. This is a album that’s all about breaks, scratches, sampling spotting and plenty of Funk to boot!!! There are also some synth sounds dotted throughout the album that come closer to recalling Dr.Dre’s G-Funk sound. Hip-Hop isn’t the only genre that crops up on this album there is also some track that use a lot of filtering in a way that is similar to the Filter House genre that was invented in France in the 90’s and made proper by the likes of Daft Punk, Cassius and Etienne De Crecy aka Super Discount. An artist who the album often reminds me of is The Go! Team mainly due to the lo-fi sound and the fun and humour that pervades the album, Mr. Scruff would probably be another relevant reference point. However, I think it’s worth pointing out that the humour and fun of this album doesn’t detract or distract from the production talent of this duo there isn’t a duff track on the album and the sound is phat with drums slapping like the best classic Boom Bap. This an album that needs your attention (and cash) now!!!

Listen to Souleance and let me know what you think of “French Cassette” in the Comments.

Last night I attended The Gig Of The Year (for a little town like York at least) when I went to watch The Midnight Hour at The Crescent Community Venue in York. For those of you who don’t live in the UK I should explain that York doesn’t get bands like The Midnight Hour playing even in the town biggest venues. The city of Leeds is just half an hour down the road and when a tour misses out Leeds the next nearest stop is Manchester just over an hour and half to the West of York. There is no need for a band like The Midnight Hour to play York and yet local Promoter Ouroboros pulled off this amazing booking.

The evening began with support act Jack Waterson who had just released his album “Adrian Younge Presents… Jack Waterson” two before hand. The guitarist wasn’t on stage for long but played an explosive slice of psychedelic rock from his album before handing over to an off Adrian Younge’s cohorts Loren Oden who sang an epic long song while playing Fender Rhodes electric piano I picked up on hints of Marvin Gaye in his voice during this song.

After a brief break between sets it was time for the main event, The Midnight Hour took to the stage with a drummer, viola player, violinist, trumpeter, alto saxophonist, Waterson on guitar, Oden would rejoin the fray later in the set. Adrian Younge played the Fender Rhodes with Ali Shaheed Muhammad playing an incredible looking purple Fender Jazz bass. What followed wasn’t at all what I’d expect from the band. I had listened to their self titled debut album for the first time in months earlier in the day and it’s pretty much a smooth Jazz album, that’s no bad thing but it doesn’t prepare you for the live versions of those tracks. What we got instead was what my friend Paul Lowman described on Twitter as “not just the best psychfunkjazz band around, but they did ‘s Excursions, aka maybe the greatest opening of any LP, ever. Anybody who wants Hendrix fuzz & Fender Rhodes funk in their face, catch ’em live” and I couldn’t put it any better myself. The band so tight and were able to segue from song to song and change styles on a six piece all while keeping the vibe Friday night not the reality of a Sunday night. In a lot of ways the live versions of the album tracks were a better representation of the other material Adrian Younge has put out both as a solo artist and in collaboration with Ali Shaheed Muhammad.

The other members of the band were equally impressive with the drummer able to switch from delicate Jazz right through to all-out Funk-Rock breakbeats, the horns were both capable of punchy stabs and expressive emotive soloing, the strings add melancholy flourishes and Loren Oden showed not only could he get into Marvin Gaye territory but also could also pull off a Curtis Mayfield style falsetto. The bands talents were acknowledged throughout the set by both Younge and Ali Shaheed Muhammad who got everyone up at the front of stage to thank them and give a great speech about their family (the band), never giving up on your dream and never forgetting their are no barriers between us and Love is real. All-in-all an incredible experience, I even got to meet Ali Shaheed Muhammad after the band finished. 

You owe to yourself to check out The Midnight Hour’s music, their live show and anything else that the individuals involved our involved now and into the future.  

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 Lovers” 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.

 

 

1.       Killer Mike – “R.A.P. Music” (Williams Street)

Killer-Mike-R.A.P.-Music

Killer Mike and El-P’s collaborative album is called “R.A.P. Music” with good reason; it does everything that a modern hip-hop album should. The album has a consistency rarely present on guest and producer heavy albums while it manages to cover a lot of sonic and emotional territory without anything feeling put on. The music veers from huge sounding synthetic bangers (‘‘Big Beast’, ‘Southern Fried’ and ‘R.A.P. Music’) to emotive epics (‘Ghetto Gospel’, ‘Reagan’ and ‘Anywhere But Here’) via Southern rap flavoured tracks (‘Willie Burke Sherwood’, ‘Untitled’ and ‘Jo Jo’s Chillin’) and Killer Mike’s flow is just as diverse ranging from the enunciated words of ‘Reagan’ to the super speedy ‘Southern Fried’ and every point in between. What “R.A.P. Music” shows is that when hip-hop is stripped down to its core and rebuilt from button up, in addition to this despite his confident persona it’s clear that Killer Mike isn’t an egotist. He tells stories about other people in his life and discuss wider political issues, the lyrical themes that have been central to hip-hop since 1982 but feel so rare in 2012. “R.A.P. Music” was the first landmark hip-hop release of 2012, a great year for the genre as a whole.

2.       Nas – “Life Is Good” (Mercury)

Nas returns with the superb new album “Life Is Good” a top hip-hop release in a year packed full of high quality hip-hop releases. Though the album doesn’t quite reach the heights of hip-hop classic “Illmatic” the quality rarely drops over the albums 14 tracks (18 on the deluxe edition). Nas balance’s a selection of solo joints complimented by well chosen collaborations with the likes of Large Professor, Amy Winehouse, Mary J. Blige and Anthony Hamilton amongst others. He also strikes a balance between hard hitting hip-hop tracks e.g. ‘The Don’, ‘Summer on Smash’ and ‘Accident Murderers’ with lighter summer jams e.g. ‘You Wouldn’t Understand’ and ‘Reach Out’ and jazz inflected tracks e.g. ‘Cherry Wine’ and ‘Stay’. Strings and piano are the dominate instruments and compliment the mature subject matter about the recent events in Nas’ life and his new found optimism. The cinematic scope of “Life Is Good” is stunning with Nas demonstrating that he has the gravity to compete with other blockbusting rappers like Jay-Z whose similar productions can sometimes sound hollow and overblown. The album rarely lets up its relentless pace but this no bad thing and none of the tracks out stay their welcome. On his most personal album to date Nas doesn’t pull any punches is his brutally honest tales of his own past and present, matching the vivid production of No I.D. and Salaam Remi (best known as Amy Winehouse’s producer on “Back to Black”) every step of the way!

3.       Flying Lotus – “Until the Quiet Comes” (Warp)  

The much anticipated “Until the Quiet Comes” starts as it means to go on with subtle shuffling beats of ‘All In’ with bells and chimes that lead the way harmonically and melodically. These elements become the glue that holds together this elemental, organic and sophisticated release from the highly regard Flying Lotus. For much of his career he has balanced ghetto fabulous beats, drum ‘n’ bass/UK Bass music undertow with his families’ roots in jazz and spiritual music and this continues on “Until the Quiet Comes”. However, it’s the cool jazz and calm spiritual music that is the dominate force whereas previously it had played second fiddle to the glitches, electronic breaks and huge bass rumble of the current music scene. Not that the modern glitches and deep penetrating bass lines and beats are absent, they just play a subtler supporting role with the exception of the ‘Sultan’s Request’ and its thick, brittle digital sounding synth bass, which gets twice as heavy in the second half of the track. The album also sees Flying Lotus utilising vocal samples and guest vocalists much more effectively, a particularly good example is Thom Yorke’s contribution to ‘Electric Candyman’ in which Yorke’s vocals are expertly and sparingly used, whereas they appeared anonymous on “…and the world laughs with you” from “Cosmogramma” (2010). “Until the Quiet Comes” initially feels like it might greater longevity than “Cosmogramma”, which though it really hit home on the first couple listens, its impact dulled over time. It was also a busy and demanding listen, whereas space is utilised throughout “Until the Quiet Comes”, which allows the listener to “fixate on any one sound and extract feeling from it.” Time will tell if this feeling becomes reality but one thing’s for sure Flying Lotus has delivered a more than worthy follow up to what often viewed as his masterpiece.

4.       Kid Koala – “12 Bit Blues” (Ninja Tune)

The latest album from the prolific Kid Koala takes a basic concept, expands on it and executes it to perfection. That concept is an album built around samples from old blues records put together using his trusty turntables and newly acquired Emu SP 1200 sampler. When I heard about this concept my initial thoughts were that this might be an overly dour album but Kid Koala proves me wrong with an album packed with hip-hop bangers that blow the cobwebs away!! Chirping synth and a vocal sample that says “the kids in rare form tonight” kick off the album before stride piano and boom-bap hip-hip beats enter to start off ‘1 bit blues’ properly, these elements turn out one of running themes throughout the album. But Kid Koala keeps the interest going with blistering guitar riff, analogue synth swiggles, sci-fi effects and a huge array of expertly deployed vocal samples. The highlights on the album range from the aforementioned opener, ‘4 bit blues’ where a down tempo hip-hop beat backs pitched down slurring vocal samples, heavy bass, brass and stride piano, ‘7 bit blues’ with its head nodding beat raucous guitar licks and subtle scratching and ‘8 bit blues (Chicago to NY to LA)’ with its expertly scratched vocal samples, neck breaking hip-hop beats and huge horns stabs. Kid Koala’s major achievement with “12 Bit Blues” is marrying modern sound elements such as the synths and the SP 1200 sampler beats with samples that date from close to a hundred years ago. As usual Kid Koala uses his turntables subtle to make the samples his own and add a modern rhythmic edge to his tracks. “12 Bit Blues” is a superb album that matches his career high “Carpel Tunnel Syndrome” and “Some of my Best Friends are DJs” track for track!!!

5.       Thee Satisfaction – “awE natural” (Sub Pop)

In “awE naturalE” Thee Satisfaction have delivered an energetic album filled tracks that both provide amply bounce that’s need for a hip-hop jam but also manages to subtly subvert both traditional methods of creating sounds and challenge the overly simplistic ‘soulful’ vocals used so liberally in hip-hop music. It’s refreshing to hear an act pushing the limits of hip-hop while still managing to make music that moves your body. The fact that these tracks are stuffed to the gills with affecting vocals, jazzy tunes and an expressive emotional palette makes an engaging and entertaining listen. From the opening disorienting swirl of ‘Awe’ to the fast moving finale of ‘Naturale’ via album highlights ‘Earthseed’ with its dark and dank atmopsherics and vocal the curve their way through notes, ‘Queens’ seductive and slippery groove and ‘Enchantess’ a darker twist on ‘Queens’ with pitched down vocals and a guest rap from Palaceer Lazaro of Shabazz Palaces. The half an hour run time demands that the album be played again immediately and is the album is equally satisfying and reveals more of its charms with each repeat listen. Thee Satisfaction never out staying their welcome and yet able to go distance on the longer tracks, if you like original, warm music with depth and attitude “awE naturalE” will be a welcome addition to your music collection.

6.       Blockhead – “Interludes After Midnight” (Ninja Tune)

I was quick to praise Blockhead’s last album “The Music Scene” (2010) but was quick to fell out of love with it on return visits. “Interludes After Midnight” promises to be an album that I enjoy for a lot longer as repeats listening has reaped greater rewards. The album consolidates everything that Blockhead has achieved in his solo career to date but crucially also learns lessons from “The Music Scene” and achieves it ambitious aims where that album had failed. In the end “The Music Scene” felt like Blockhead was just getting to know his new software Ableton Live but the album actually feels ‘live’ and can’t be directly attributed to the sounds or techniques of any particular software. Regular fans of the Ninja Tune labels output will instantly warm to this music and bares comparison to Bonobo’s solo work and “Sound Mirrors” by label head honchos Coldcut, as well as 70’s T.V. and soundtrack music, particular Bernard Herrman’s “Taxi Driver” score. The arrangements on “Interludes After Midnight” are inventive throughout a classic example being ‘Never Forget Your Token’ which starts out with electric piano and oddly pitched male vocals but ends with a twisted electric guitar unrecognizable from its first half. These arrangements could be jarring but instead feel completely natural as Blockhead’s well thought out concepts and production nous holds everything together. It’s rare to find a beat maker as distinct as Blockhead and he deserves far greater recognition and praise than he currently receives. All-in-all a superb instrumental hip-hop album; where ambition is matched by the quality of each track from top to bottom.

7.       El-P – “Cancer 4 Cure” (Fat Possum) 

In some ways “Cancer 4 Cure” is business as usual for El-P, all the usual signifiers are in place, his lurching, crushing beats, massive dirty synth bass-lines, stuttering vocal samples, stabbing instrument samples. However, one that’s no bad thing and two I believe this is an artist who subtly evolves his sound with each new release. The first difference that jumps out at me is that whereas in the past there were only hints of film music influences on El-P’s production’s “Cancer For The Cure” makes this explicit with a majority of the tracks shot through with a dystopian atmosphere akin to John Carpenter’s soundtracks to “Escape From New York” and “Assault on Precinct 13”. Further to this the album repositions El-P as “a real hip-hop focused musician rather than a beatmaker”; the musicality is turned up to ten and so this already heavy music makes an even greater impact. The album also features a couple of El-P’s most minimal and spacious tracks to date in ‘Stay Down’, ‘Sign Here’ and ‘The Jig Is Up’, in addition to this melodic vocals feature on ‘For My Upstairs Neighbor’, ‘Oh Hail No’  and ‘Works Every Time’. The album feels more thematically together than “I’ll Sleep When Your Dead” (which was great album) and this makes the album feel like it’ll maintain it impact over a longer time.

8.       Oh No – “OhNoMite” (Traffic)

Oh No’s “OhNoMite”’s overall sound and approach harks back to classic 90’s hip-hop sound though the source material is entirely made up of samples from Rudy Ray Moore’s audio achieves drawing heavily on the soundtrack to Blaxploitation film “Dolemite” from which the album takes its title. As a result of this the album is pack full of funk loops, smoky jazz chords and swinging tough hip-hop beats that get your head nodding. The album is stuffed with guest appears but doesn’t suffer from attention deficit disorder, each MC contributing high quality raps that fit into the album overall theme. The old skool styling’s of album don’t get in the way of enjoying it, in fact it’s a major part of “OhNoMite”’s appeal. One of the stand-out elements of the album is the fantastic array of analogue synth sounds that feature throughout; it’s also a sound that doesn’t always bed in well in straight hip-hop tracks, in my opinion and Oh No’s production’s successful ingrate them with thrilling results. This is a thoroughly brilliant and refreshing hip-hop record that will appeal to fans of Madlib, The Alchemist and filthy funk 90s classic hip-hop.

9.  Big Boi – “Vicious Lies and Dangerous Rumours” (Mercury)

“Vicious Lies and Dangerous Rumours” is an ambitious and highly emotive album, one that fuses together 80’s funk, new wave and ambient synth textures with Big Boi’s trademark Dirty South hip-hop style. It is in short Big Boi’s pop album and rivals fellow OutKast member Andre 3000’s “The Love Below” as the finest pop entry in their respective back catalogues. This is the album that I thought I’d be hearing from Andre 3000 when he got around to making his debut solo album but Big Boi has beaten him to the punch. I’d go as far that is the most emotional raw and broad hip-hop since Kanye West released “808s and Heartbreak” (2008). It’s difficult to single out highlights on an album where quality level never drops from start to finish, this could be an overcooked and busy affair with seventeen tracks and many more collaborators but Big Boi and his opulent backing tracks gel with everything single contributor. Whether it’s the swarming strings of ‘The Thickets’, the 100% electro fest that is ‘Thom Pettie’ or the lush 80’s funk come-on’s of closer ‘She Said Ok’ it all just works even when it shouldn’t. Big Boi recently proclaimed his love of Kate Bush’s music and this influence runs through the whole album informing its lush synthetic and acoustic textures and arrangements. Prince is another 80’s pop star whose influence is a regular feature on the album and it’s no bad thing even on the out-and-out cheese fests of ‘Raspberries’, ‘Descending’ and ‘She Said Ok’, the influence is always present on 80’s funk numbers ‘Apple of my Eye’ and ‘Higher Res’. I didn’t think I’d be writing this but with “Vicious Lies and Dangerous Rumours” Big Boi might have just trumped his debut solo album“Sir Lucious Left Foot: Son of Chico Dusty” (2010).

10.     Doseone – “G Is For Deep” (anticon.)

The long awaited new solo album by cLOUDDEAD co-founder Doseone is one of the finest releases by any member of that trio since their self titled debut album in 2001. It picks up where the last Subtle (a spin off project from Doseone and Jel of cLOUDDEAD) left off but with a much greater emphasis on space and pop hooks. Throughout Doseone strikes a balance between chip tune elements, deep probing electro beats and strong melodic content. The releases of cLOUDDEAD and their related projects have always used ambience in conjunction with beats and rapping but here it feels more like Doseone is tapping into a rich vein of dream-pop that recalls the Cocteau Twins in their 80’s pomp. The new found space and melodic clarity make for a more immediate listening experience though there are still enough twists and turns to keep long time fans interested, I’m sure some will see this as a compromise but this genuinely feels like a natural evolution for a unique artist.

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