@@@ Dean Spunt and John Wiese: Fruit from Color Vapor (Drag City, 2022) This is a recycled post from a month ago and I don’t remember how I came to these two tracks. This is a deconstructed blend of racketous drums and electronic noise blasting and there is, despite what that looks like on the page it’s got some good stuff in it. It’s jazz like with noise replacing any sort of melodic instrument. There is some pretty radical panning which adds to the sense of movement and there is interplay between the digital roars and the drummer who is not interested in grooving shit.
@@@ Phelimuncasi: Inja Enamarabie Wemame Weh (Nyege Nyege Tapes, 2022) This is some South African politically minded electronic music and the track below is the ninth track on the record though I switched up to the opening track as it has a fat bass in it. The tracks have a superstuffed and chaotic feel to them. I dig it for the most part, it’s a stew. I’m on my fourth sample of the record and though I keep expecting an initial groove to explode into full African electronic madness it continues to keep things more on the percolating tip. I like it without loving it. I haven’t hit a track that just blows my mind and though I would love to add this to my year end list, I’m an honest person and if I don’t feel it I can’t recommend it. I liked track 5 the best of what I heard.
@@@ Ezra Collective: Victory Dance (Partisan, 2022) Slotted as jazz and coming out of Britain Brits think of jazz differently from Americans. Anything Afrobeat-ish large ensemble flavored world music falls under the jazz umbrella. I don’t really give a fuck about the definition (while thinking it’s a pretty half assed definition) this has a Latin jazz feel as well a tad of Afrobeat. I like the thick layer of percussion here most of all, as well as the bass, but think the piano sounds a bit thin to my ears, it could drive harder. It’s an instrumental that I got to via the WRIR weekly playlist and I should give ups to the trumpet player as he/she/they are working hard here. Nice piano solo, I dig that, it’s percolating quite bigly — I dig this energy.
@@@ Delgres: Mwen Vle mache (PIAS, 2022) This is some very folksy and awesome Cajun folk music. Understated and human as hell, simple heartfelt music served up without massive amounts of cheese. Regular readers know of my undying love of the tuba — I would listen to dogs fornicate if there was a fat ass tuba line underneath the track, so imagine the hotness I feel when the sung in French vocals and strummed banjo gets bumped up from underneath by the righteous tuba. This is music to celebrate, don’t sleep on this shit. It’s up on Apple Music so I’m guessing it’s on Spotify and other service. Accordion, tuba, great vocals. They have a 2021 record up on Apple Music which is more electric blues that I’m going to check out.
@@@ Saltpond City Band: Boko A Ko (N/A, 2022) I got to this via this week’s WRIR playlist chart. If highlife and Afrobeat and fusion jazz/smooth jazz and Prince had a baby it would sound a whole lot like this. Big horn section but definitely towards the mellower side and the non macho Fela side of town over a thick well produced rhythm section with a two guitar attack. It’s a beautiful and thick stew of sounds, poppin bass. My ear is particularly caught by the guitar work which has a chickenscratch quality without being fully that. I don’t think Imma bitch asking for more whoomph. I think a lot folks with good solid jobs would be interested in this record, some of the more flavorful ones at least. It does a really good job at what it sets out to do, I just prefer a slightly different rougher mission.
@@@ LINDA AYUPUKA: Annebooy (Mais Um, 2022) I love African and Middle Eastern electronic music as I think they do a much better job of breathing life into drum machines and synths. There’s some hand drumming here and a lot of call and response vocal tracks as well as a synth playing the part of a driving reggae rhythm guitar and a chatter-y drum machine. There’s a video game style solo break and the retro sounds here are less annoying than if a tight denimed blue jean cat from Williamsburg presented them to me. Also the singing is clearly a cut above indie vocalization.
@@@ Boston Bun: Nobody But You (eOne, 2022) This record is off a best of 2021 but as I click it I think we’re gonna get a big ol’ slice of frat boy bangers here. Fat synth, vocoder vocals, the whole dilly. Building, building, comes out with a midtempo groove with a nice percussion, I just had coffee but I can’t remember what it is. It’s a party down below but up top it’s more abstract and mellow, the action is south of the equator. I’m checking out another track to make sure I get a good feel of the formula. It’s a similar formula but with a pitch shifted diva melody. Midtempo bangers, not super funky, bit fat wedge synths, ya know the ones that really take up some space, I guess it’s best of year for Red Sox fans maybe. Oy bit of a drag on the listens today but maybe some of this is for folks who aren’t like me, which is almost all folks.
@@@ JEMBAA GROOVE | Susuma (Agogo, 2022) Some Afrobeat I got to via the fine folks at WRIR. It opens smooth jazz style, super smooth, smoother than a porn star’s downstairs waiting room. I skipped to the second track and it’s also super chill and smoother. I have nothing against it. The rhythm is thick, everyone plays well, it’s just not super to my liking. If you love the mellow Afrobeat well then you just struck gold cuz this shit is super chill.
@@@ Kirsty Rock: Slow Burn (Easy Star, 2022) Both listens are off this week’s WRIR playlist email. Opening with the sonics of a big draw on a weed smoking device this is roots reggae with some synth horns and firm yet laidback groove. The female vocals have been recorded and mixed very intimately and it ends up being a very rub a dub track, super comforting. I don’t usually dig the big bucket of vocal tracks but I like it here. I also really like the tempo and feel of the groove here. I believe Ms. Rock is from the lighter side of town and that doesn’t matter at all but you can hear it in places. Just sayin’.
@@@ MUITO KABALLA: Little Child (Rebel Up, 2022) This is slotted as a funk record by Apple Music and it’s released by a small UK label that does a lot of world/electro/funk type stuff. This is the fifth track of the record and it opens with a bit of a guitar solo, not Funkadelic style, then it moves into a strummed guitar part, minimal piano and a loping bassline. Also plenty of ooh and aah female vocalizations. The star here is the horn section and the melody that put on this softer groove. About 2.5 minutes in a female singer comes in and it has proggy/smooth/fusion-y jazz flavor to it. It’s an almost 10 minute banger and I’m going to check another track to see if there’s more funk to it. More funk energy that is. I’m checking out the first track and it has a distinctly Fela-esque spoken word Afrobeat thing. I’m liking this third track Dansez!, Dansez! with it’s highlife guitar line and firmer groove. All three of the tracks I checked out were pretty different so you gotta get up in this record and dig for what you like. I would start with track 2 and go from there.
@@@ Lord Apex: The Bullshit (Cookin Soul, 2022) I got to this via Crack Magazine in the UK. Regular readers know of my conflicted love of UK hip hop which is usually quite hilarious due to the accent but sometimes comes through with a unique vibe. I’m going to stream this off the GooglePimpTube cuz my Apple Music player often decides, on its own, to just suck ballz and not work. This is the second track off a brand new Apex record. He leans towards a more band like/instrumental sound. His flow on the microphone is pretty spare, light accent, solid and slightly pissed energy without losing his nut or comin’ off soft. Very nice keyboard vamp with a trippy tone. He’s got a sung vocal hook going here with the phrases the ups and downs, the lows and highs, etc. I like this, I’m not jumping up and down. The player clicks through to the next track, For all My Hustlers, and I like this better. Firmer, slightly higher tempo.
@@@ Bio Ritmo: Piraguero (Merge, 2022) I’ve been a big fan for a lot of years because of WRIR in Virgiania pushing these guys up, but now they have a single out on Merge and I’ll peep it and help to spread the word because this is a hot shit band. If you go to the Merge website they talk about this band going 30 years and they popped a reissue 7″ of the song below. The point is not to even necessarily review this song but to recognize these guys are awesome and you should check them out as they’re real musicians.
@@@ Tord Gustavson: Stream (ECM, 2022) Some high end jazz from ECM, a classic jazz cheese trafficker. Piano, bass and drums in this track, the whole record which I probably won’t be rocking and to say this is a chill sitch would be an understatement. No feelings got hurt in the making or the aftermath of this!!! Ah, somebody shoot a Red Bull into my eyeball I’m falling asleep!!! Wowsa, it’s just after 7pm as I listen to this and I’m not ready to go to bed. Okay, okay that’s enough, how dare the unwashed rabble not be content to snack on this. There’s a nice space where the bass player rocks a solo but it’s nothing to be scared, it’s a gentle breeze across the listener’s taint. Never has so little been presented as just right, oy.
@@@ Julmud: Harti (Bilnaés, 2022) From Pitchfork’s 10 most reviewed albums. I’m a straight up sucker for Middle Eastern electronic music, so I immediately clicked up on this after encountering it in a promo email. This is slotted as hip hop on Apple Music but thus far no MC ah there’s a MC rockin’ it in oh boy, Imma have to google Julmud. He’s Palestinian and the vocals are there but the sounds seem more important in this first tune. We’ll see, I dig these complex and sophisticated rhythms. This second tune Kassara is all crunched up, snare, a drum fill, hand drums, oy it’s a lot and that’s a good thing. The third track, Haras Al Jabal, is my favorite of what I heard and I will be checking this out later. I’m on the fifth tune while I fuck around on the interwebz and this guy has something going on here. I will circle back on this record but check this out as you may like it.
@@@ King Jammy: Closed Border Dub (Greensleeves, 2022) A coupla listens off the WRIR weekly playlist from last week. King Jammy brings back the dubwise flavors for the post Covid party. Well maybe post Covid, and maybe a party. Some newer dub records don’t have that trippy grit of the classic ones and though this opening track is no murky Lee Perry business, it feels dubby and not all cleaned up. All the titles are pandemic related with titles such as Dub for All Hospital Workers and Track and Trace Dub. Most dub records don’t contain much in the way of guitar shredding but there was a nice Funkadelic style guitar shred towards the end of the first track and the second track has it as well. Let me google who this guitar player might be, ah shit I can’t find anything. Whoever you are I honor you. There is some tasty shit on this record, this might make my year end list, so check it out, King Jammy 74 years young and kickin’ it!!!
@@@ LALALAR: Abla Deme Lazim Olur (Bongo Joe/Dunganga, 2022) This is a pre-release track from a Turkish outfit that I got to via the WRIR weekly playlist email. Gruff, low key male vocals, some rock bass, world music flavored synths and overall a sly party track. A little shreddy electric guitar, is the rock guitar making a comeback??? This is a pretty slammin’ track to be hitting for the onset of spring, lucky to be alive and kickin’ some party music, you can’t go wrong with that. It’s a bit hard to describe this track as it’s a mash of a lot of different sounds, but thank God we have the interwebz and you can hear it for yourself if you click on tracks you don’t know. Good listens today, get your world music on.
@@@ VTSS: Goin Nuts (Technicolour, 2022) I got to this track via the UK electronic music magazine Crack. These guys are up to some techno business with not classic beats and fat ass bass pushin asses around. Some glitch action, some high hat skitter action and boom! This is a 6 track EP with some hip hop flavors, some abstract electronic sounds, some classic techno flavors and funny titles like the ‘Propaganda of Success’ and ‘Why we Don’t deserve Nice Things’. This is above average approaching slamming so if you dig electronic throw this quickie EP a listen and you might feel it.
@@@ Moonchild Sanelly: Covivi (Transgressive, 2022) This is our sole listen from this week’s Line of Best Fit. Sanelly is part of the South African electronic scene and are 5 pre-releases tunes up on Apple Music where her record called is branded as pop. It’s a poppy track but it’s also very funky track with some big hand drumming sounds. Lots of chanting type vocals, you know your classic old school drums and vocal interaction. I didn’t love the track Stripper that I checked out but these tracks are full of sophisticated rhythm. The third track I peeped and the opener on the record is called Undumpable but I think the first track I peeped is the best of what I heard.
@@@ Happy Place: Tendrils (Exit Stencil Recordings, 2020) I saw this weirdo rock band listed for a record release show for a record released in 2020. Oy, the covid! These guys are working a spot that used to be quite common but has now receded like the tide. Non-derivative freak rock with punk flavors maybe even some jazz feels, a crossroads if you may. This is a seven minute banger and it revolves around a 2 drummer groove but there’s plenty of noise and drone and weird energy to keep you engaged. I do not miss the ridiculous macho rawk energy but I do miss a messy rock space where folks are playing hard and putting out a lot of energy, I’m mostly always up for that. The player clicked through to another track and I’m medium into that as well.
@@@ Azu Tiwaline & Labdi: Hewa (Extra Soul Perception, 2022) I’ve been searching for new stuff from this North African female producer because I really dig her and her music and this track popped up on my Apple Music search. Just out!!! In my dumbass opinion her sounds connect you to a state of mind larger than the individual, blending dub delays with North African/Middle Eastern percussion and in this case a female vocalist. It’s serpentine and slim and has a depth to it that I enjoy. I like the groove, the sounds are excellent and the vocals are not meant to be the main focus and work well within the sounds.