Review of ‘Empathogen’ by Willow

 

Willow branches out further from her pop roots, trading pop punk for prog jazz.

Review of 'Knower Forever' by Knower

The fact Knower aren’t more well-known is an absolute crime. The duo’s latest jazz-funk banger bonanza is one of the most fun albums I’ve heard in a while.

Double Review: 'Stumpwork' by Dry Cleaning and 'Hellfire' by black midi

You’ve heard of mumble rap. But what about ramble rock? Yes, that’s the term I’m now using to describe these types of bands (it’s better than ‘windmill scene’).

Review of 'Mood Valiant' by Hiatus Kaiyote

 

Hiatus Kaiyote return with some catchy and vulnerable neo-soul jams.

Double Review: 'Bright Green Field' by Squid and 'Cavalcade' by black midi

The UK is currently experiencing a wave of wacky post-punk bands. Squid and black midi might be the wackiest of them all.

Review of 'It Is What It Is' by Thundercat

The funky bassist-singer gets serious.

Review of 'Flamagra' by Flying Lotus

FlyLo’s new fire-themed album is a hot mess.

Review of 'Igor' by Tyler, the Creator

Tyler’s new album is a grower.

INTRODUCING: Star The Moonlight

Meet Star The Moonlight.

Review of 'Flower Boy' by Tyler, the Creator

Tyler quits trolling and shows us his serious side.

Review of 'Automaton' by Jamiroquai

Crazy-hat-wearing high-flying Jay Kay and his crew of funky instrumentalists have returned to the studio after seven years. Was the return of the space cowboy necessary in 2017? Or are there already enough disco/funk revival acts out there?

Review of 'Drunk' by Thundercat

Thundercat ought to be a pretentious douche. Most people with his level of instrumental prowess have the right to be. Instead, the bassist-extraordinaire refuses to take himself seriously. At all. Which is what makes him so lovable.

INTRODUCING: Vulture St. Tape Gang

Meet the Vulture St. Tape Gang.

Review of 'IV' by BADBADNOTGOOD

Toronto jazz act BADBADNOTGOOD have abandoned the spooky melodies and pig masks and decided to put on their bow ties and get classy.

Review of 'Crux' by Jaggery

Jaggery are Boston’s latest off-the-wall offering, a self-proclaimed ‘avant rock’ group with a frontwoman named Singer Mali Sastri (that’s right – their singer is named Singer).

Review of '★' by David Bowie

I thought he was The Man Who Fell To Earth? I thought he was the Goblin King? Alas, no-one it seems - even the mystical and legendary David Bowie - is immune to dying.

Review of 'The Beyond/ Where The Giants Roam' by Thundercat

When you’ve listened to as much soul and funk as I have you begin to get desensitised to the slinky chords and groovy basslines. Everyone becomes another wannabe-Stevie-Wonder, another wannabe-Steely-Dan. It takes an artist like LA producer, singer and bassist Thundercat to prove that funk and soul still has room to evolve.

Review of 'Choose Your Weapon' by Hiatus Kaiyote

On the odd occasion when I’m feeling classy, I’ll kick back with some brie, crackers and red wine and listen to some soul music. Hiatus Kiayote are my latest and greatest find – a Melbourne neo-soul group with a frontwoman villainously named Nai Palm (pronounced ‘napalm’). From a glance you’d think they were some crazy white brutal hardcore band, but their sound couldn’t be more opposite.

I first stumbled upon them a couple weeks ago after hearing an old hit of theirs titled ‘Nakamarra’. The husky vocals and pillowy chord progressions transported me to a happy, summery place of peace and love and daisy chains.

I expected the same husky vocals and pillowy chord progressions from this album and without a shadow of a doubt I got this. Hiatus Kaiyote know all the sweet notes to hit to make you feel warm inside. However, it became immediately clear that the vibe wasn’t the same. The reason behind this became clear after repeat listens – Hiatus Kaiyote have lost their smoothness.

They’ve developed ants in their pants, losing their ability to sit still, crafting songs that refuse to settle into a groove. There are no straightforward, easy-flowing numbers like ‘Nakamarra’ on Choose Your Weapon. The record opens with ten minutes of jazzy noodling, disguised as three songs. After this, the music becomes a little more structured and digestable, but there’s still a lot of melodic fidgeting and no real hooks or solid riffs or rhythms to serve as a payoff.

Too much noodles

That said, buried beneath the progginess are some beautiful moments that are worthy of praise. ‘Swamp Thing’ has a muddy, driving bassline that aptly suits it’s title. ‘Prince Minikid’ has a dreamy instrumental that Flying Lotus would be jealous of. Then there’s my favourite track, ‘Atari’, one of the most energetic tracks here – sporting an upbeat chorus of sorts and some fun 8-bit synths.

All these moments feel like creative strokes of genius that could have paid off if Hiatus Kaiyote didn’t have such a short attention span. Meandering off every time a good idea pops up, the album feels like a constant tease. Those with more tolerance for a good noodle will enjoy it. 

★★★☆☆

TRACK TASTER:

Review of 'Sour Soul' by BADBADNOTGOOD and Ghostface Killah

Sour Soul has all the instrumental grandeur of a Bond movie. Why then is Ghostface Killah not rapping about fast cars and hot women and gunfights like he always does? Why instead is he giving us nutritional tips?

Review of 'Shiny Eyed Babies' by Bent Knee

Massachusetts six-piece, Bent Knee, are the type of bananas band that likes to dabble in every genre going. These type of bands don’t come along very often, and for a weirdness-worshipper like myself who adores the Frank Zappas and Mr. Bungles of the world its always exciting when they do.