Joss Stone - Water for Your Soul

The concept of Joss Stone's seventh studio release began to take shape following the formation of SuperHeavy, the multicultural, cross-generational group that released an awkward if free-spirited album in 2011, just before The Soul Sessions, Vol. 2 materialized. Among Stone's bandmates was Damian Marley, who implored the singer to cut a reggae album. Stone was hesitant at first but conceded, perhaps realizing that a drastic switch in her vocal approach would not be required. (She wouldn't even have to avoid using the word "soul" in the album's title.) More importantly, Marley wasn't fooling. He followed through and co-produced this with Stone. The duo devised a set of songs that often uses reggae as a foundation but incorporates a familiar mix of soul, rock, and roots music with light accents from tablas, Irish fiddles, and flamenco guitar. Even when the album deviates most from the singer's previous releases -- specifically in "Way Oh," during its chorus and forced-sounding references to a "buffalo soldier," likely a nod to Marley's father -- Water for Your Soul always sounds like Joss Stone. Her voice remains in debt to classic soul as much as ever. Additionally, she continues to switch from emotion to emotion with full-bore conviction. From one song to another, there are some extreme swings in sentiment. In "Let Me Breathe," she begs for release from a stifling relationship she cannot resist. She follows it with the exasperated "Cut the Line" -- fluid and dubwise, the album's song with the most surface appeal -- where "I can't get over how you're shutting me out" is delivered with the same amount of "help me out here" force. While one can always sense the pain and joy in the mere sound of Stone's voice, some of the songs' lines provoke head scratching rather than knowing nods. Through deep, repeated listening, the album increasingly resembles ragtag emoting. Heard passively, it's all pleasant summertime listening.

 

 

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RJD2 - More Is Than Isn't

More Is Than Isn’t, the fifth proper full-length from Philly beatsmith RJD2, opens and closes with the echoes of distant bird chips. A consummate crate-digger and sample hunter, RJ lines the path in between nu-disco, dusty soul, rock ‘n’ roll, spiraling organ runs, and brash hip-hop. As the title suggests, its 16 tracks are a cacophony of aesthetics pulled from the producer’s myriad inspirations. However, unlike other mad scientists, RJD2′s creations are beautiful offshoots of their distorted components rather than monster mashes.

Anchored by three tracks (“Suite 1″, “Suite 2″, and “Suite 3″), the album’s beats are granted ample room to roam before being reeled back into that celestial calm. During each movement, the creation and subsequent destruction of melodies builds tension across the broader piece. On the first half of the album, the soulful “Temperamental” and disco-leaning “Behold, Numbers!” establish the chillout tempos that the 8-bit electronics, heady Middle Eastern vibes, and rock riffs of “Her Majesty’s Socialist Request” are intent on eviscerating. The latter half’s Motown-indebted “See You Leave” (feat. STS and Khari Mateen), “Got There, Sugar”, and electro-pop current of “Love and Go” (feat. Aaron Livingston) serve similar roles.

 

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Trombone Shorty - For True

Troy 'Trombone Shorty' Andrews' is a rare artist who can draw both the unqualified respect of jazz legends and deliver a high-energy rock show capable of mesmerizing international rock stars and audiences alike. With such an unprecedented mix of rock, funk, jazz, hip-hop and soul, he had to create his own name to describe his signature sound: Supafunkrock! Andrews is the kind of player who comes along maybe once in a generation.
Equally adept on trombone and trumpet, Andrews plays a variety of other instruments as well. He’s applied the same skill sets and fierce discipline to his vocal instrument, to soulful effect, as the album demonstrates. Surrounding Andrews is his band, Orleans Avenue—Mike Ballard on bass, Pete Murano on guitar, Joey Peebles on drums, Dwayne Williams on percussion and Dan Oestreicher on baritone sax—virtuosos every one.
Produced by Galactic's Ben ElIman, For True, features Andrews' band, Orleans Avenue, as well as a string of legendary performers with whom he recently shared the stage, including Jeff Beck, Kid Rock, Lenny Kravitz, Ledisi, Warren Haynes, Ivan and Cyril Neville, The Rebirth Brass Band and more. Troy wrote or co-wrote all 14 tracks on the new album including co-writes with Ledisi, Kid Rock, the legendary Lamont Dozier and others.

 

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Blitz The Ambassador - Native Sun

Native Sun is the follow up to Blitz The Ambassador’s 2009 soulful blend of hip-hop “Stereotype”. Using the jazzy sounds of his previous efforts and taking it one step further, Blitz embraces his African roots and thus we are treated to an expansive mix of hip-hop and afrobeat. Not since Nas and Damien Marley’s classic album “Distant Relatives” has the combination worked quite so well. But it is clear from the opening track “En-Trance” that Blitz is looking to challenge our perception of hip-hop.

An ancient horn takes centre stage and removes us from our comfort zone. This sound is quickly joined by light African drumming, and we are left wondering how Blitz is going to rap over such traditional production. But we are quickly reminded this is a hip-hop album as the track begins to incorporate vinyl scratching and other more familiar sounds. Lyrically Blitz is taking us on a cinematic journey through his homeland. It’s a burst of creative genius using the medium of positive hip-hop music.

A real highlight of the LP is “Best I Can” Feat. Corneille. It features haunting guitar strings combined with Blitz rapping at a pace which comes close to a Bizzy Bone or Twista. Lyrically he pours out his heart on this track whilst a distorted choir further enhance his verses. Corneille sings “I hear these voices in my head, I look at the choices that I made, trying to be the best I can”. It is a reflective mantra which encapsulates the mood of the song. The use of gently strum guitars is evident throughout the project, usually accompanied by soft drums. Although you could be forgiven for thinking that this music sounds light, Blitz carries a powerful lyrical style which brings a revolutionary message of unity. Therefore it is anything but.

A jazzy interlude serves as a bridge to the second part of the album. “Accra City Blues” is a journey through a war torn city, I would compare it favourably to Marvin Gaye’s “What’s Going On”, it may yet become an African hip-hop anthem for years to come. Certainly it reflects the people better than past attempts by plastic artists such as Akon. Many mainstream attempts at African music often result in tokenism, this is the real deal. The choice of guests on the album is a real strong point. Chuck D. makes a brief appearance on “The Oracle” whilst underground favourite Shad joins Blitz on the title track “Native Sun”. The cohesive nature of the sounds make it impossible to separate their quality.

Rather than feeling like a track by track album, it plays more like a melting pot of expermental music which amazingly keeps shape amongst the chaos of African/hip-hop fusion. The pieces are emotionally layered in that they are both celebratory and honest in their representation of African life. Proceedings come to a close with “Ex-Itrance”, a continuation of traditional African sounds met with Blitz in spoken word form. At 12 tracks long the project is a neat 44-minutes and yet there is enough music to digest for months. This is progressive hip-hop at it’s finest and an early contender for hip-hop of album of the year. It does what every great album should do and leaves a lasting impression.

 

 

 

 

 

 

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Oka - Milk & Honey

With a signature sound and unforgettable live reputation, OKA is still serving their Progressive Roots music. Electrified Digeridoo, heavy slide guitar, soaring flutes and juju rhythms are some of the many ingredients in this Australian sound that’s matured over a decade. Humble beginnings busking on street corners have led to global tripping & independent CD sales in excess of 100 000 albums. Their past is unique and reflects a sun-drenched coastal lifestyle they call home. Here we find them with their 6th studio album ‘Milk & Honey’ that hints to be the most exciting yet. 

Incorporating flavours of Dub, Electronica, Hip-hop, Jazz and many forms of world music, for years people have tried to define the OKA sound. Instead, perhaps look at the line-up - Three characters with varying influences, backgrounds and talents. Stu Boga Fergie (Didgeristu), the big man behind the electronic beats & keys brings raw didgeridoo & vocals inspired by his aboriginal heritage. Chris lane plays captivating melody on Slide Guitar, Harmonica & Woodwinds including Bamboo Flute and Sax. Making up the trio is Samoan-Australian Charlie Zappa – a rhythm specialist with beats of Polynesian fire and deep pocket. Together they blend many pieces that is the OKA puzzle - A sound & force that touches the heart & feeds the soul. 

‘Milk & Honey’ brings a fresh and exciting addition to the OKA catalogue. It was created from on-stage jamming & relaxed sessions at their home Coolum beach on the Sunshine Coast. While keeping true to their indigenous roots the 14 track journey touches on new territory with vocal tracks & a soup of synth tones & beats not straying too far from the classic OKA feel.

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The Strides - Reclamation

With their explosive melting pot of Afrobeat, Reggae, Hip-Hop and Dancefloor jazz, 10-piece ensemble THE STRIDES has already won over a steadfast following in Australia. After a lengthy series of gigs that includes supporting afrobeat legend Tony Allen and becoming a headline act at both the Bellingen Global Carnival and Peats Ridge Festival, this dynamic outfit is ready to launch its new album “Reclamation” on Record Kicks. With a heavy rhythm section and a powerful 3-piece horn section, The Strides deliver a captivating blend of funky afrobeat, roots reggae, hip hop grooves, dubbed out beats, and hypnotic rhythms.

Featuring vocals by reggae master Ras Roni from Trinidad via London and rising hip hop star from Fiji MC Lil Gzeus (Little Jesus) over the super skanky, infectious, horn-heavy grooves of the band, “Reclamation” perfectly showcases the mighty force of The Strides’ innovative sound. From afrobeat-infused instrumental romps such as “Umbi Gumbi” and “Well Hung Parliament” to hip hop stormers such as first single “Reclamation”, to hints of roots reggae on "Storm Cloud" and "Fresh Lady", Australia's best kept secret The Strides impressively mix and combine a series of genres, and the result is something special, indeed!

”Boasting 10 fired-up members and wasting no time in following up their impressive self-titled debut, Sydney's The Strides return with frisk in their gait for eight new tunes straddling dub to Afrobeat, hip-hop to exotic jazz.” – The Sydney Morning Herald

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Chinese Man - Racing With The Sun

The French collective Chinese Man centres on DJs High Ku and Zé Mateo and beatmaker Sly.They may be based in Marseilles but their hip-hop vision is global – for latest album Racing With The Sun, the trio, plus assorted international guests, adopt a continental Supermarket Sweep approach that is Gorillaz-like in its eclecticism.Over predominantly dubby beats, Chinese Man embroider African, Asian and Latin influences, precise scratching and a mass of obscure samples, from Canadian folk group The Wailin’ Jennys for the title track to a line from the French version of Easy Rider to end Down.The quirky, dub-heavy Miss Chang (sampling Chinese singing and with lyrics from Taiwan MC and California’s Cyph4), the defiant, Arab Spring-influenced Stand (blending Middle Eastern strings and melismatic singing with samples from US Civil Rights speeches), and the energetic JOGJA (with Indonesian rapping from M2MX and Kill The DJ) are highlights in a good-natured set that largely boils its many ingredients down to an appealing syrup of mellow instrumental vibes.

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Damian "Jr Gong" Marley - Halfway Tree

Covering everything from roots reggae to dancehall, culture to (mild) slackness, and hip-hop to R&B, Damian "Jr. Gong" Marley's sophomore offering, Halfway Tree, bridges the gap between several disparate Jamaican sounds. "Where Is The Love?"--set to a slinky American R&B rhythm--juxtaposes the youngest Marley's roughneck toasting against Ruff Ryder Eve's assertive feminist rap. His posh uptown pedigree can be observed in the smooth grooves and salsa-infected vibes of the Sly & Robbie-produced "She Needs My Love," which also showcases graceful vocalization by Yami Bolo. "Catch a Fire," featuring brother Stephen's raw silk harmonies, drops some straightforward African diaspora history in a classic roots reggae style, deconstructing and updating their father Bob's classic "Slave Driver." Overall, Halfway Tree is above average, and "Give Dem Some Way" is the album's most outstanding selection. After opening with a truly funny spoken-word intro, a funky bass-drum-and-flute "wild apache" beat kicks in, and then Jr. Gong and talented newcomer Izzy set it off for the educated rude-bwoy youth.

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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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Cunninlynguists - Strange Journey Vol. 2

One of the decades most consistent independent Hip Hop
groups, CunninLynguists return with Strange Journey: Volume
2. Hailing from Kentucky, the trio consisting of Kno, Deacon The
Villain and Natti has built a rabid fan base with past releases
Southernunderground, Will Rap For Food, A Piece of Strange,
and Dirty Acres, as well as extensive worldwide touring with
Raekwon of Wu-Tang Clan and Brand Nubian. Despite their
Southern roots, the group has become a key centerpiece in
East Coast Hip Hop conglomerate QN5. In the past two years
the group has been covered by XXL Magazine, Spin, The
Source, URB Magazine, XLR8R and more. Strange Journey:
Volume 2 features guest appearances from platinum artist E-40
and Evidence of Dilated Peoples Represented by The Agency
Group.

 

 

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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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TM Juke - Maps Of The Wilderness

A cohesion of beautiful melodies and rugged beats, “Maps from the Wilderness” is an accomplished album that should earn TM Juke the same accolades as fellow Tru Thoughts album acts Quantic, Jon Kennedy and Bonobo (who now record for Grand Central and Ninja Tune respectively).
Having recorded various songs for Tru Thoughts under the guise of Al Stylus, TM Juke took it upon himself to adopt a name suitable for styles and sounds he wished to explore with this album. The styles are varied and they seem to span the full orchestral range; rolling timpani drums underpin hazy beats whilst delicate guitars flitter amongst intricate strings.
As a producer, TM Juke draws on funk, soul, hip-hop and jazz influences, but adds a greater depth and maturity with immaculate arrangements that belie his twenty four years and give “Maps of the Wilderness” a strikingly original yet strangely familiar feel. Owing as much to the sampler as the guitar, the TM Juke sound embraces atmospheric melodies and street savvy beats in equal measures: this is made apparent by the album’s guest vocalists. Jim Oxborough and Alice Russell who join together for “Knee Deep”, the first single to be taken from the album, a lush affair with a natural swing and memorable hooks.
Bringing back the hip-hop, Canadian MC’s Bread and Water lend their calculated style to “Get It Together“ whilst appearing on behalf of the UK, Rup gets lyrical and gives “Wilderness Kids“ an edge that sets it apart from any uniform hip-hop sound. “Maps from the Wilderness” has all the ingredients that make a great record, setting new agendas in instrumental music whilst retaining a universal appeal.

 

 

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TY - Special Kind Of Fool

International hip hop artist hailing from the UK, Ty hits us in Spring 2010 with his fourth studio album Special Kind of Fool, on BBE Records.

As one of the most revolutionary rappers on the British hip-hop scene, Ty embodies the intellect, talent and ferocity of an MC always destined to become a legend. Over the last decade, the Mercury Prize nominee has achieved the rare feat of establishing a legacy through his three albums and wise persona, strengthened by his amazing worldwide shows and countless appearances alongside luminaries such as De La Soul, Tony Allen and Pee Wee Ellis. Musically, he's also worked with Estelle, Scratch Perverts, Talib Kweli, Black Twang, Arrested Development, Bahamadia and Zion I, both in front and behind the mixing desk, further proof of his relentless artistry and his evolution from roguish wordsmith from South London to an internationally-acclaimed hip-hop connoisseur.

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BK One - Radio Do Canibal

Better known as Brother Ali's DJ, BK-One takes his years of experience as a DJ and puts on his producer hat joining forces with up and coming Twin Cities beatsmith Benzilla, to craft a Brazilian musical bed for some of Hip Hop's most engaging MC's. Radio Do Canibal features performances by Scarface, Slug (Atmosphere), Black Thought (The Roots), Brother Ali, Raekwon (Wu-Tang Clan), Murs (Living Legends), Haiku D'Etat (Aceyalone, Myka 9 & Abstract Rude), Blueprint, P.O.S. (Doomtree), The Grouch (Living Legend), I Self Devine, Toki Wright, Aby Wolf & The Hypnotic Bass Ensemble.  BK-One's love of music has been a lifelong affair. From an early age, he studied classical piano and jazz theory, taught himself to play the vibraphone, and began collecting records.

 

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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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Lack Of Afro - This Time

2011 release from British producer/remixer/DJ Adam Gibbons AKA Lack Of Afro. Gibbons combines his live musicianship and top notch studio production skills with rappers and vocalists into a skillful combination of compositions blending funk, Hip Hop and Soul into a steamy stew of a breakbeat bonanza. As a multi instrumentalist, in-demand producer and remixer, a DJ with his finger on the cutting edge of contemporary sounds, and an ear tastefully cocked to the hippest soul, Jazz and Funk music from the '60s and '70s, Gibbons has already established an unrivalled reputation as one of the most crucial names at work in funk and dance music today.

 

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Criolo - No Na Orelha

“Nó na Orelha” ('Knot In The Ear') is one of the most successful Brazilian albums of 2011. Completely self-penned, its recording was overseen by the experienced Nação Zumbi producer Daniel Ganjaman and aided by Marcelo Cabral. The result is that Criolo has received, among others, both a 'Best Show Of The Year' and a 'Best Newcomer' award.

With more than fifty-five concerts in Brazil plus one in New York, all in support of this new album, Criolo has worked hard to bring the message of his music to the people. Now, in 2012, it is the turn of Europe to welcome this most compelling and unique performer: the true voice of a new Brazil.

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Curumin - Arrocha (2012)

'Arrocha means to hold on with a lot of pressure,' Curumin says from his São Paolo home, describing the meaning behind his new album title. 'In Bahia it's a rhythm, a way of dancing where you hold your girl very close. That pressure is something we feel here in Sao Paolo. It's a very big city and you are always surrounded by people. On this album I'm trying to make more sensual music, speaking with a lot of feeling and getting closer to people.'

Born of Spanish and Japanese parents 35 years ago, Luciano Nakata Albuquerque adopted the persona Curumin (KOO-roo-mean) as a way of exploring the possibilities of Brazil's many sonic heritages. Known globally as the land of bossa nova and samba, the youthful vocalist/multi-instrumentalist/producer has borrowed much from his Brazilian culture but expanded upon it by creating an inviting, sensual tone while eschewing any lust for stardom through mainstream sounds. On the pioneering Arrocha (Six Degrees Records), he has built upon prior success in creating a melodically addicting and rhythmically potent exploration of modern Brazil.

Discovered by California hip-hop outfit Blackalicious on a 2005 South American tour, the duo helped Curumin gain international recognition by releasing his debut, Achados e Perdidos, in the United States. After successfully launching his presence in the States at CMJ that same year, he was quickly booked to perform at Chicago's World Music Festival and the M3 Conference the following year. Natalie Portman included his track 'Tudo Bern Malandro' on a compilation; when 'Guerreiro' was used in a Nike ad during the FIFA World Cup, the fame he never sought was ensured.

It was Curumin's second album, JapanPopShow, that really launched him in 2008. His unique fusing of samba, reggae, electronica, funk and hip-hop earned him gigs at Central Park Summerstage, Los Angeles's Grand Performances, the Montreal Jazz Fest, the Red Hot Rio +2 concert at Brooklyn's BAM and San Francisco's Stern Grove. He's performed alongside Femi Kuti, Jorge Ben, Money Mark, Blackalicious and Juana Molina, and earned glowing accolades from the NY Times, Spin, the Village Voice and Billboard.com.

Part of a wave of evolutionary Brazilian artists updating their native soundscape, this self-professed tropicalia and funk addict now delves deeply into the electronic sound of his MPC to control the direction. 'I created different atmospheres and textures from doing a lot of research with all of the albums I have here in my house,' he says. Being that his home would not cater to a full band set-up, Arrocha dives right into the heart of his intentions: it's a warm, sensitive journey featuring gorgeous melodies floating over a wash of spacious percussion, guitars and bass, while never losing the danceable beats that his culture demands.

'The electronic angle let me work inside of the machines,' he says. 'It's a different way to do Brazilian music. But it's also part of my Japanese heritage. The thing that I'm trying to accomplish in my music is connected to the past and tradition, as well as to the future. This is a very Japanese way of looking at things.'

Kicking it off with the hard edge of 'Afoxoque,' the word is an amalgam of the Portuguese word afoxê and the English shock. 'I was programming the beat and just gave it this name. A few days later I tried to write lyrics, and I started to research what afoxoque could mean. Afoxê is a word from Yoruba, the African tradition here in Brazil, and it means 'the power of speech.' So it's the shock that happens to you from the power of language.'

Not all of the album depends on metaphysical explanation. In fact, the topics of yearning and connection, to a soulmate, family member of friend, dominates the content. 'Selvage,' the album's first single and video, is about getting wild. Having lived in downtown São Paolo for eight years, Curumin felt that past-future connection, noticing that very evolved people live daily with their primitive instincts. On 'Selvage' he waxes romantic over the 'jungle' of his former neighborhood, providing the listener with Arrocha's most upbeat, punchy track.

On 'Paris Vila Matilde' he tells a story about calling his girlfriend, who comes from the São Paolo neighborhood of Vila Matilde, while he was in France. This gorgeous two-minute gem is engulfed by that seductive term, saudade, an indescribable feeling of desire and aching made globally famous by the poetic hand of Federico García Lorca. And speaking of poets, 'Pra Nunca Mais' was penned by Arnaldo Antunes, Brazil's renowned wordsmith and singer.

'It's like you're waking up and coming out from a dream,' Curumin says of that song. 'But you don't want to wake up, so you go back to your dreams and begin to float. Then the things in the dream start to happen again, but then you are waking up again, but you don't want to.'

Following up on the many successes he garnered with JapanPopShow, Curumin has produced a record that's certain to surpass previous praise. Introduced to Six Degrees Records via his friend (and now labelmate) Céu - who guest stars on the reggae-inflected 'Vestido de prata' - he's excited to be moving in new musical directions, blending catchy tracks with an integrity and inventiveness unique unto himself. For him, this is all he could imagine himself doing.

'I'm always trying to be minimal in my music and life, just putting in what's essential and not too much information,' he concludes, in what is perhaps another quality pulled from his Japanese ancestry. 'I'm happy that the alternative scene in Brazil is building. If you just have mainstream music, nothing is creative, and no one is going to try to do anything strange. Now some people are doing strange stuff, and some people are listening to strange stuff too. This is very good.'

 

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Lady6 - The Liberation Of...

  Second album from hip-hop soul diva looks to the future
Ladi6's smooth and reflective hip-hop soul made her first solo album, Time Is Not Much from 2008, an excellent - if a little shy and coy - debut. On The Liberation Of ... she steps up in a bold, lively and often experimental yet fun way, which recalls the innovation of the last two Erykah Badu albums.

Right from the opening double-dutch hand-clapped start of Bang Bang, it's almost quickfire in its nature, with the 10 short and snappy tunes over pretty quickly. Yet they pack a rump-shaking punch as the tracks brim with a constant soulful hip-hop energy-from the head-bobbing beats and sprays of brass on Koln to Ladi's saucy nasal lilt that drives the songs along. Then there's the delightfully silky and bouncy Jazmine D.L., a tribute to her cousin who passed away last year; Like Water is a romantic sing-a-long that has a cute stomp to it; and 98 'Til Now is her staunch hip-hop blow-out.
But it's on tracks like Burn With Me, an experimental hip-hop jam later in the album, and Goodday, a deep groover that just gets meaner and meaner as it pulses and slopes along, where The Liberation Of ... starts living up to its title.
So while the first half of the album is fun, catchy and what she does well, the second stanza starts wigging out with more mind-altering squelches and wobbly synth sounds, making it more than just hip-hop soul and taking it into cosmic soul-meets-future funk territory. That's a good place to be.

 

 

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