There is something enchanting about world music. Perhaps it is the alien sounds, something different to the 4×4 dance infiltrating every spectrum of modern life; from phone adverts to football stadiums, you cannot escape. But wait, you really can.
NØ FØRMAT is a French label headed by Laurent Bizot. Started to give artists a chance to release their albums the way they want, it is one of the most exciting and innovative labels in France.
Mamani Keita, born in Bamako, Mali, arrived in France in her 20’s to the elation of the African community, knowing of her fine reputation in Mali they proceeded to integrate her into the African Jazz scene. Yelama, which means ‘change’, is an adventurous, energetic modern album, mixing African rhythms with electronic instruments.
A fresh outlook on music is one always welcomed; Mamani Keita provides exactly that, innovative and fresh this is definitely worth your time. Although, admittedly we are very late with this one, the album was released in 2006; this is a hidden gem. Get on their soundcloud and support independent music, fuck 4×4.
Madlib is a mad genius. If I were to explain why I think this to be true I would completely forget the true reason why I started this post – so I think we’ll leave that for another day. In this latest entry into the REVISION ROTATION series, I’ve included Madlib’s Shades of Blue album, a series of remixes over the archives of the legendary Jazz record label, Blue Note records.
This album is a masterclass in the meshing of smooth beats and chill vibes with technical prowess – a description that fits Madlib himself. It manages to be impressive sonically without being obtrusive enough to take your mind off the matter at hand – you could definitely do with this on while you’re busy cramming useless information you’ll never use again.
If you, like me, have some sort of coursework/revision/slave labour to concern yourself with around this time of year – the right kind of music can often put you in the right frame of mind and make the work less labourious. With that in mind, I’m going to be compiling a little series of posts featuring music that gets me in the mood for mind-numbing reading.
If you’ve heard of Diggs Duke, then you should already know what to expect. His Gravity EP was released a few months back to critical acclaim, despite being very short, and ended up on many ‘End of Year’ lists – with a jazzy voice and an ambient, atmospheric sound being prevalent throughout the tape. You can get your hands on this heavy EP for only 99 cents (convert that into GBP if you’re that much of a Scrooge).
His recently released Black Gold EP (produced in collaboration with BamaLoveSoul) is also not the longest in the world (at all), but the soulful and sultry sounds emanating from the Maine resident will definitely have you putting it on repeat. My personal favourites so for me include ‘Something In My Soul’ and the title track ‘Black Gold’.
To enjoy Black Gold in it’s entirety, head to the bandcamp page (click the cover artwork above) and name your price. The first 1200 people get a free download, no complaints here.
To begin with, this is not a reflection of the collective opinion here at PSA; this is a collection of my (Sameed) favourite releases of 2011. I hope you enjoy.
20
Kool Vibe – Deep Inside (Brawther’s 7inch dub)
This 7inch, released on My Love Is Underground, was limited to only 150 copies maintaining the labels elusive ethos. Paying homage to the classic house sample, the dub never left the record bag.
19
The Odd Trio – The Medley (Bastard, Lemonade, AssMilk)
Covering Odd Future the Jazz trio, now under their new alias BADBADNOTGOOD, reworked much of the collectives work. This edit of Tyler the Creators ‘Bastard’ provided a fantastic teaser to the mixtape.
18
Hype Williams – Your Girl Smells Chung When She Wears Dior – One Nation
The strange duo produced some of the strangest music of 2011, and not to everyone’s taste. Your Girl Smells Chung samples Cassie’s vocal from ‘Addiction’, reworking with vintage chords a shuffling percussion and excessive tape delay. The eccentric pair are one of the most original artists to break through 2011.
17
Julio Bashmore – Battle for Middle You – from Everyone Needs a Theme Tune EP
This monster house track was a staple for most DJ’s in 2011, and was dropped by everyone across dance spectrums. Not much more has to be said.
16
Michael Kiwanuka – Tell Me a Tale
Since our review back in May, the soulful Londoner has done it all: Numerous appearances on Giles Peterson’s show, toured with Adele and a slot before Red Hot Chillies on Jools Holland. His sound has been dubbed as vintage soul and comparisons to Bill Withers are rife, making it a massive breakthrough year for the 23 year old, sure to blow in 2012.
15
Gang Colours –Fireworks in Pocket – from In Your Gut Like a Knife EP
The latest talent to get gobbled up by Giles Peterson’s Brownswood label, Gang Colours debut four track EP falls into that ambiguous electronica/post-post category. Playing with psychedelic and futuristic instrumentation the EP provides perfect 5am listening, one to watch out for again in 2012.
14
Tyler the Creator – Yonkers
Need i say anymore?
13
Boddika – Warehouse – from Back & Fourth
Boddika aka Instra:mental was a huge figure in 2011. It proved difficult to select one track to sum up his year, with ‘Acid Jackson’/’Soul What’ also huge; however, this track was a central feature of his acidic sets in 2011 and fully went off.
12
Space Dimesion Controller – Flight of Escaped Vessels – from The Pathway To Tiraquon 6
Another of the huge breakthrough act of 2011, Space Dimension’s psychedelic sounds provided the soundtrack to some amazing R & S records nights.
11
Shlohmo – Places – from Bad Vibes
LA Hip-Hop’s latest son produced some outstanding music in 2011; this is my pick from his EPs etc.
10
James Blake – Whilhelms Scream – from James Blake
At first, I was cynical; I didn’t like his whining voice and his nervous aesthetics. In short, he annoyed me. I will be first to admit I was wrong, as his almost apocalyptic singing grew on me I was converted after seeing his band live. Much like Nicolas Jaar, he took electronic music to a visceral level, returning to live instrumentation.
9
Deadboy – Here for You – Here
Glasgow based NMBRS has established itself as a front runner in UK electronic music, and with releases like this its easy to see how. Following 2010’s sellout ‘If U Want Me’, Deadboy returned from his US tour with a fresh house orientation.
8
Joy O – Sicko Cell
As stated, 2011 was a huge year for Swamp81. This ambiguous release was kept under wraps for much of the year, before Mr Orbison claimed responsibility. A camp favourite at Outlook, in the tent not the gay sense, I was subjected to this one on a daily basis.
7
Unknown Artist – B1 – from Music Institute 20th Anniversary (Part 1 of 3)
- B2 , not B1
The first of three limited edition vinyl’s released on Detroit’s Kai Alce’s NDATL imprint as part of the 20th anniversary of the world famous Detroit Music Institute. Hailed as the epicentre of Detroit’s epic rise to electronic folk law, the institute played host to a who’s who of Techno/House. The release, although not made in 2011, is unreal. Salvaged from DAT’s tapes/CD’s, in a series of ultra rare and lost tracks, this release blew my mind! Unfortunately i couldn’t find B2, so heres B1.
6
Brawther – Do it Yourself – from Do it Yourself EP
A focal point of my sets for much of the year, this is a pure darncefloor groove. Straight up house grooves from a standout player in my 2011.
5
Daphni aka Caribou – Yes I Know – from Yes I Know/Jiao EP
2010 gave birth to Caribou; 2011 gave birth to Daphni, his evil twin. ‘Yes I Know’ was a feature of his outstanding RA podcast, and completely throws dance floors every time.
4
Wendy Rene – After Laughter Come Tears (Nicolas Jaar Edit)
It would be easy to harp on. So I wont. His album was sick; live sets, also sick; and mixes, again sick. This track was never released, being part of his mix for XLR8R magazine; however, the edit of Wendy Rene’s original, which can also be heard in Wu-Tang’s classic, is epic and hard to come by.
3
FaltyDL – Brazil – from You Stand Uncertain
A standout track from one of my favourite albums of the year.
2
Bugge Wesseltoft and Henrick Schwarz – Kammermusik – from Duo
German house mogul Schwarz needs no intro, remixing from MJ to Bill Withers; however, 2011 saw him turn his attention away to live shows, and away his house roots. With the progression of both musicians coinciding, Schwarz towards live music and Bugge towards electronic, a project seemed fitting. The collaboration merged live Jazz improvisation with carefully orchestrated compositions, making a beautiful record. ‘Kammermusik’ is underpinned with a Piazolla esc piano line and evocative percussion, making a remarkably original record.
1
Thundercat – For Love I Come – from The Golden Age Of Apocalypse
Thundercat is best known for his extraordinary basswork for the likes of FlyLo, Erykah Badu and Shafiq Husayn, including the bass on Cosmogrammas “MmmHmm”.Produced by FlyL and featuring Grammy award-winning drummer/brother Ronald Bruner Jnr the album included an amazing re-interpretation of George Duke’s classic “For Love I Come”, quintessential listening.
Common has decided to recite a verse from one of the best songs, off of one of the greatest albums of all-time. This homage to Nas’s Life’s a Bitch demonstrates how, almost twenty years on, this classic verse manages to sound oh so dope…listen good
After attending OUT OF STEP’s sample sale back in July, we couldn’t wait for another one to come around. This time, however, SAMPLED are putting on a cultural tour de force; by combining fashion, music, and art; this ‘sample sale’ is going to be pretty chilled day out. Brands like ALIFE, STUSSY, GENERIC SURPLUS and many more will feature at ridiculously discounted prices. Music wise, there will be new and old rare vinyl up for grabs in nearly all genres. If that wasn’t enough, after the sale is over there is the chance to attend a one-off night with guest DJs Andy Smith (Portishead), Spin Doctor, and many more. Don’t say that we don’t keep you informed with all things über fucking cool….
The event will take place on the weekend of the 3rd of December @ Bar Music Hall, 134 Curtain Road, London EC2A 3AR
Entry costs £2 or a fiver with entry to the club included.
Soul-funk? Jazz-hop? Whatever label you slap on the Detroit-based Will Sessions collective, there’s no denying the fact that you’re in for something smooth when you hit play.
This compilation features the very best of their work – and if you managed to hear Elzhi‘s outstanding project Elmatic that dropped earlier this year (if you haven’t, get on it) you’ll know what to expect. For those people who had been clamouring for a standalone instrumental version of Elmatic since it dropped, this may not be it – but it’ll more than satisfy your craving for now.
Continuing the forward thinking mantra of the West Coast – see our recent feature
http://psamag.com/2011/08/11/thurz-la-riot/ – is Brainfeeder’s latest export Thundercat. Known for his extraordinary basswork for the likes of FlyLo, Erykah Badu and Shafiq Husayn, including the bass on Cosmogrammas “MmmHmm”, Thundercat, real name Stephen Burner, has now turned attention to his own solo album The Golden Age of Apocalypse.
Produced by FlyLo, featuring Grammy award-winning drummer/brother Ronald Bruner Jnr and Erykah Badu’s vocals, plus an amazing re-interpratation of George Duke’s classic “For Love I Come”, the 13-track album provides quintessential listening. Moving away from conservative production and pedagogical methods of playing, synonymous with the label’s ethos, the album instead engages more so with traditional jazz than hip-hop. Although a jazz/hip-hop hybrid, or influence, is resolute throughout traditional/old-school hip-hop the artist manages to engage modern production with fluid improvisation, making for a distinctly different interpretation of traditional hip-hop/jazz.
Electronic/jazz hybrids popped up across the spectrum this year – see
http://psamag.com/2011/06/20/henrick-schwarz-bugge-wesseltoft-duo/ – and Thundercat collected, much like Villalobos and Schwarz, the tracks over a sustained period of time; thus placing an impetus on quality. “Is it Love” is the first track that grabs the attention, a laidback sultry jam with obvious influence from the likes of Duke and Ayers. This influence resounds in the following track “For Love I Come’, an original Duke track it has been re-worked by FlyLo and Burner to impeccable standings. Thundercat is a bassist; although he provides much of the vocals, his roots are solidified in the guitar; and his talent prevails, providing some fluid moments of escapism.
Known for experimentation, the label’s mantra surrounds the unknown, the random and the vastly divergent sounds of their own unique brand of hip-hop. This album follows in that vain. The album moves in a regimented fashion, on a predictable course, you know where the percussion is going to hit and the crescendos are going to build. However, it does with an elegance of improvisation, of live music, on a distinctly intangible discourse. Released on the 29th of August, via Brainfeeder.
Back in January it was confirmed that two of the best producers in Hip-Hop were due to release a battle LP. Each producer will get six tracks to prove their worth, although it has to be said that these two have not got a lot left to prove. The LP will feature the likes of Sheek Louch (The LOX), and RZA (Wu-Tang), a tantalizing line-up of producers that should, if all goes well, supply us with one of the records of the year. Primo has also shed some light on what it is like working with Pete Rock, calling him “a fuckin’ maniac, yo.” Whatever the intricacies of their relationship, these two are undoubtedly heavyweights in the game, and we look forward to kickin’ back to this jam when it drops.
In other news, Pete Rock is helping out vibraphone luminary, Roy Ayers, with his U.K gigs. The pair are hitting up Manchester and London in July; you’d be fool to miss out. Tickets are available from here.
Meanwhile, check out, if you already haven’t, the video of Primo and Pete Rock battling it out in Tokyo last year.
Henrick Schwarz needs no introduction, remixing from Michael Jackson to Bill Withers, he successfully amalgamated soul and house into a single entity, with impeccable stature. The German born producer has now turned to live shows, fusing improvisation and instrumentation. Bugge Wesseltoft, best known for his work with Laurent Garnier on “Man with the red face”, is a jazz pianist, composer and electronic jazz pioneer, increasingly moving towards the latter. With the progression of both musicians seemingly coinciding – Schwarz moving towards live shows, and Bugge toward electronic – the collaboration makes incredible sense; and oh how it does.
The first track; aptly named “First track”, was recorded live in Berlin in 2009, and is a live improvisation, as “Where is the edge?” and “Dudelange” are. “Dreaming”, the second track, is laced with techno elements: acid drops and 808 snare hits. The pulsing jazz groove is breathtaking.
“Leave my head alone”, a standout club tune, originally including Henrick’s vocals removed to retain a certain ambience, is captivating. Swirling, warping piano, and live loops/sampling fuse together in complex levels of interplay. The second club friendly track is “Kammermusik”; already featured moves on Giles Petersons show. Bugge instigates a Piazolla esc piano line underpinned with Schwarz’s rhythmic construction, making an evocatively beautiful piece of music.
A feeling of spontaneity, improvisation and natural growth is omnipresent throughout; retaining the authenticity of a jazz album/concept, and the rhythmic instrumentation of electronic music. The concept is simple: jazz pianist and house instrumentation; however, the results are far from simplicity. Without a doubt, you need this in your life. A wonderful and enchanting piece of music.
