Fat Freddy's Drop - Bays (2015)

If you’re already quite familiar with FFD’s genre-splicing and casual beat-dropping, then you’ll likely find a lot to love in Bays. Staying mostly true to that dub/reggae ethos, the New Zealanders have managed to suppress any urges to branch out with phoned-in collaborations with guest vocalists (although Food-era Kelis would certainly fit the bill) or mess around too much with the agreed formula. Beginning with ‘Wairunga Blues’, a swinging opener that does enough to pique your interest through its slow-burning and alluring groove, it’s not until the following track ‘Slings and Arrows’ that the album really bursts into life: a quickfire drum fill gives way to an uplifting horn section that’ll no doubt whip audiences worldwide into a mass skank-off.

The techno style of ‘Razor’ is probably the biggest change of pace on the record in terms of the band’s sound – presenting the listener with an unrelenting and rather intimidating beat that insists and insists throughout its eight-minute duration, it’s the mark of producer John Faiumu daring to push the band’s sound to unfamiliar territories. And, as such, it’s a little discomforting – following track ‘Makkan’s chilled, shuffling style is a welcome antidote to the strange and unusual trip that the previous song takes you on; a sensation that’s returned to when the similarly techno-focused ‘Cortina Motors’ kicks into life towards the end of the album.

The centrepiece of this intriguing record, however, is ‘Fish in the Sea’. The second longest track here, Joe Dukie’s Dr. Seuss-leaning lyrics about life’s struggles (“my wife needs a wish from the magic fish”) are enough of a draw to permit his band’s instrumentation to gradually build unnoticed around it, and, whilst it doesn’t explode into any kind of epic crescendo, it’s still the most delightful, smile-inducing moment on the record. You get the feeling that, when performed live, this and many of the songs on Bays could go anywhere – they all serve as a blueprint for the live arena, where FFD really do excel in letting their songs come into their own.

By Sam Moore

 

 

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Marcelinho da Lua - Social

Marcelinho da Lua is a Brazilian reggae/samba/dub/electronic music producer, singer and DJ. Released in 2007, Social brings together a great mix of funk, samba, reggae and dub along with electronic beats.
The album also features special guests such as B-Negao and Tonho Crocco.
Check it!

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Fat Freddy's Drop - Blackbird (2013)

Let's start from just over halfway through the third album by Fat Freddy's Drop. It's the point where it goes beautifully bonkers, and showcases the band as not only the kings of laid-back and lilting epics but brain-rattling beat and soul mantras.
The first half of Blackbird is just what you expect to hear from Fat Freddy's. But then Soldier starts, soothingly at first, before the pressure drops, an eerie sonar sound takes hold and it plumbs the sonic depths, all with a nod to dub great Augustus Pablo. And from Soldier it ramps up into the pinging future funk of Never Moving, then Mother Mother moves from Caribbean trance done Aotearoa-style with big booming stabs of brass to stealth techno soul, and instrumental finale Bohannon grooves, grinds and bops away, taking you on one last enchanting trip.

 

 

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Dumpstaphunk - Everybody Want Sum

During the past seven years, New Orleans-based funk outfit Dumpstaphunk has progressed from a fun live act to perhaps Big Easy’s most promising ambassador. All that time together gave the Ivan Neville -fronted group plenty of road-tested material to choose from for its first full-length studio album, Everybody Wants Sum. The band succeeds in creating an intriguing mix of styles and tempos throughout. An ode to New Orleans’ cuisine, “Greasy Groceries,” the lyrically deep “Outta Know Better” and the dirty funk of “Do Ya” anchor the 12-track release, yet it is the deep, in-the-pocket instrumental “Paper Chasing Britney” that truly shows off the swagger of the band’s years of steady gigging. Everybody Wants Sum proves that Dumpstaphunk is just as capable of throwing it down in the studio as it is on stage.

 

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Citizen Cope - The Clarence Greenwood Recordings

Anyone whose CD collection is expansive enough to contain both Mos Def and Jack Johnson will easily find room somewhere between for the sophomore album from Clarence Greenwood, aka Citizen Cope. The singer-songwriter, who got his start playing DJ in the exquisitely laidback Washington D.C. hip-hop outfit Basehead, works hard to smudge the lines that separate genres, throwing together blues, beats and books in socially-conscious jams like "Bullet and a Target" and "D'Artagan's Theme." Meshell Ndegeocello helps out on the low-lit love song "Sideways," while Carlos Santana brings his usual fretboard fireworks to "Son's Gonna Rise."

Cope melds hip-hop with folk, soul & blues...and he feels this combination deeply...his uncommon chords & harmonies combine delicate dissonance with unexpected flashes of beauty." -ROLLING STONE "...Clarence Copeland Greenwood makes groovy, laid-back & sweetly romantic music that is filled with drama, love & cosmic questions." -THE WASHINGTON POST

 

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Tijuana Cartel - M1

Combining the old with the new, Tijuana Cartel have splattered their melting pot of influences all over M1, taking the listener on a round-the-world journey of sonic discovery. The flamenco-flickered For The People begins life in a sleepy Middle Eastern village before plunging to the depths of an East London warehouse rave; Mr Joshua Sinclair island-hops in the Caribbean with African tribesmen bashing away on conga drums before the dancefloor-friendly recent single Letting It Go drops anchor in a sweaty Sao Paulo street party. Perhaps M1 is less about escape and more about escapism. What strikes you most about M1 and its apparent departure from a trademark Tijuana Cartel sound is that, just like life on the road, the further you get away from home, the closer you are to being there again. M1 is not a world music record, but a record that spans the globe. It visits every continent, references every culture, yet lives in the here and now. It’s a musical odyssey that began life in the Gold Coast and will die only when Tijuana Cartel’s tour van can take them no further. It’s familiar and foreign all at once, a departure and return rolled into one. It’s a bold new step for Tijuana Cartel, and the first of many for a band that refuses to be confined to any one style, or any one place.

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Dynamo Productions - Analogue

DJ's Scott Hendy and Andy Smith are the brains and team behind Dynamo Productions and their debut release on Illicit/Invada, Analogue, bridges the gap between hip hop, old skool funk and breaks, giving respect to the past while keeping their feet in the present.

Hit The Floor warms things up, it's one for the dancefloor and has featured on Deadly Avenger's Fabriclive CD and also on the Battlecreek series - a highly sampladelic jam with a nasty organ sample on top. Get It Together uses the same sample that made Soul of Man's "Between The Eyes" such a popular tune.

MC Profile features on two tracks - the laidback Think and head-nodding hip hop of Back To Basics. The latter works for me as it is catchier thanks to it's funky bassline and more uptempo feel.

The uptempo joints on the album are it's high points, a healthy mixture of old skool breaks, funky basslines coupled with scratches and cuts that Andy and Scott are known for. Busta Beat is a personal highlight of the album thanks to it's b-boy breakbeats, latin orchestra horns and James Brown like "Bust It" samples. Look out for the breakdown in the middle!

The album also has it's share of downtempo tracks such as Slip Inn and the bluesy Airwaves featuring yawning strings on a laidback beat and the album finishes off with the piano heavy We're Through featuring a female vocal sample, which appears to be lifted off a classic breakup tune.

Overall Analogue is a great album and born out of the need for Andy and Scott to bridge the gap between hip hop and funk tunes in their block rockin' DJ sets and unlike DJ Format's album, doesn't over utilise the skit approach to bridging the gap between songs.

 

 

 

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DJ Vadim - U Can't Lurn Imaginashun

Early in his career, DJ Vadim was a specialist. His specialty was shadowy ambient breakbeat, and it provided some of the highlights to appear on Ninja Tune, which was a very fine label indeed. Since then, he's branched out and matured, able to float all manner of beat-centric forms. That's exactly what happens on U Can't Learn Imaginashun, and virtually every track is the type of high-quality jam that could survive on its own. (It's easy to imagine the praise a DJ would get for his range if he aired the 18 tracks here in a DJ set.) Though he starts with dancehall, Vadim spends a lot of time in hip-hop, but with many variations on the form: classic hip-hop, digitalia, East Coast hardcore, and slow-grind R&B. Vadim also gets the most out of his obscure cast of featured guests, including a pair of serviceable East Coasters named Juice Lee and Rjay, the outre R&B vocalist Sabirajade (who appears on three great tracks, including the deep-grooving "Thrill Seeker"), and Chicago veteran Pugs Atomz (who appears on "Saturday" and "Always Lady," a pair of completely different settings). Oddly enough, the variety on tap can make for a scattered listen, but U Can't Learn Imaginashun  is studded with great tracks.

 

 

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AYB Force - Lost Breaks

A.Y.B. (Abnormal Yellow Band) FORCE is a trio of Japanese Break beat artists. Their only US release to date is the 2006 Lost Breaks. Lost breaks is typified by break beats and samples over jazz horns and piano. Before they were known as A.Y. B. Force they were known as DJ Lark Chillout and the Funk Messangers.

 

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Nightmares On Wax - Thought So

The venerable Nightmares On Wax return with ''Thought So...,'' a sun-drenched collection of dub and heavy drums arriving just in time to wrap up summer madness. After paving the way for soul-minded beat-smiths like Madlib and Flying Lotus, this latest LP is another important step in an already iconic career. Buoyant and supremely catchy, ''Thought So...'' is another skillful combo of advanced production and vintage groove. In short, the record gives fans everything they have come to expect from Nightmares On Wax.

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Nappy Riddem - One World Sovereignty

Rex Riddem and Mustafa Akbar, better known as Nappy Riddem, have created a funky sound, drawing on everything from soul to reggae — and the duo’s debut release, One World Sovereignty, hooks the listener from the very beginning with touches of all these influences and more. The self-titled opening track proclaims the album’s mission: “It’s so profound when the beat comes round, we get down like this/ We are the funktified soul providers Nappy Riddem project.” Riddem and Akbar are going to deliver some funky tunes and “make ‘em sweat.” You will be shaking yo’ ass by the middle of the first song — they bring in a jazzy horn section and a funky guitar, and the result is incredibly danceable.

But it’s not just the funky tuneage that makes this album so memorable. By the second track, the men of Nappy Riddem are commenting on the state of things in the world: “reciprocity is a million-man dream,” but “times are so hard, the devil need a bodyguard.” The vocal harmony is fantastic and again, there is a great mix of jazzy horns and sick beats, this time with the addition of singing keys. These guys are definitely gifted composers.

“Ease Up” and “Angle It” are sexy tracks with pure reggae vibes. They do have a bit of a stereotypical rap feel in the lyrics, talking about sexy girls in short mini-skirts, but they’re still fun and funky and have just as much musicality as the more serious songs on One World Sovereignty. And the album does anything but get boring — there are elements of dub on “Soundboy Wake the Sound,” and a slowed-down soul feel on “Suspicious Love.”

“One World Sovereignty,” is simply an incredible tune. The opening guitar is beautiful and catchy, the vocal harmonies are exquisite, and the lyrics are tight and eloquent, drawing on an impressive variety of sources for inspiration: “Biological and chemical warfare/ everybody talk about Iraq, but what about the war here?” and, drawing (presumably) from Maya Angelo’s poem, “Now I know why the caged bird sings/ how can you hold me captive? I’m a natural born king.” Though lamenting the state of things in the world, the overall message is positive: “it’s time for us to be the chance we want to see.” A wonderful closer to a strong album.

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340ml - Sorry For The Delay

340ml  is an African musical group who originate from Maputo, Mozambique, but are now based in Johannesburg, South Africa. They have therefore jokingly been described by some as being "Jozambican". The band incorporates many different elements into their music including Dub, Jazz, Ska, Afro-jazz and Reggae It is therefore very difficult to attach the band to any specific music genre, as their style is rather unique. The music that 340ml produces is often described as having a very relaxed African-feel to it, and also strongly incorporates elements of Latin music.
Their music has also been described by Jean Barker (a music critic ) as "sounding better than a cold beer opening on a hot day.

 

 

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