Dam-Funk, as readers well know, dropped one of the absolute hottest albums this year with the massive Toeachizown. He’s already my personal choice for biggest surprise of 2009, and his debut is looking at best of the year status. Here’s the inspiringly trippy video for infectious first single, Mirrors.
Lynch-esque employment of light and shadow! Dreamy visuals! Laser glowing keytar action! Yes!
[album is on sale at stones throw in either 2CD or 5LP format – peep the gorgeous artwork]
Fela Kuti is a supernatural being. An extraterrestrial. A god. A politically charged, female-fueled rhythm machine. He basically invented what we know as afrobeat. He challenged the deadly authority of Nigeria’s oppressive government through song and action, and paid a price for it. He popularized and reinvented jazz in Africa, then brought the explosive results to the West. He was a visionary, a revolutionary, a womanizer, a pioneer, a king… a bad ass mother fucker.
Most of his music was released in single and 12″ form, and the majority of his tracks were 10+ minute floor pounding epics. Thus when being reissued, most of the originals were combined on CD, with it’s longer running time; which brings me to Expensive Shit + He Miss Road. The impossible nature of selecting a favorite Kuti track or album led me to sharing, as an introduction, the release which I simply have listened to most often. The tracks here are simply some of the most addictive numbers in his catalogue. Aside from the two title tracks, we have Water No Get Enemy, Monday Morning in Lagos, and It’s No Possible – all long form, mercilessly energetic pieces designed to kickstart brains and shake asses at the same time. Most Kuti songs follow a formula of intense rhythm buildup, chanted or sung culturally incisive lyrics, a beat explosion, and an extended hypnotic ending. The sound itself begs no description; it just is. Those who have listened know; those who have not are missing out on some fiercely energetic hip-shaking deep groove jams. The stories behind the songs’ genesis are often intriguing enough for a small book, Expensive Shit in particular, so be sure to read up on them. It not only aids in the enjoyment of the tracks (as if these masterpieces needed help to be enjoyed) but provides some insight into the man and his tumultuous life.
Just give this a try, especially if you’re completely new to it – in such a case, I promise no less than the most interesting thing you’ve heard all week/month/year. Open your ears and prepare for spastic motion, mental and physical. This is only the beginning.
[purchase the groundbeaking combo at cduniverse, wrasserecords, or the always-reliable amazon]
Jackson Conti is an exotically beautiful collaboration between producer extraordinaire Otis Jackson Jr. (aka Madlib) and Azymuth drummer Ivan ‘Mamão’ Conti which began when Jackson took a trip to Brazil and fell in love with the sounds of the country’s funky jazz and bossa nova, with a particular interest in Mamão’s band.
Unapologetically deep into it’s alluringly exotic sound, both artists dive into the project with abandon, creating an environment marginally detached from anything Madlib‘s been involved with yet, including most of his jazz-centric Yesterday’s New Quintet material (excepting, of course, the few Jackson Conti-titled tracks on the YNQ compilation album Yesterday’s Universe). It’s straight up pure old school Brazilian jazz, with the same feel that Conti’s been pounding out for over 30 years – with enough intricate production flourishes and head-nodding polyrhythmic tones that let us in on the fact that it’s, in fact, a very modern record. It’s truly impossible to describe exactly what this feels like if you’re not familiar with the sounds, so I’ll leave it at this: if you want a relaxed but intense jazzy tropical vibe to get lost in for days, give this a try. It’s habit forming in the best way. As a huge Madlib fan, I must admit that despite it’s esoteric nature and loose connection to any of his other work, Sujinho is near the top of my favorite records by the prolific artist.
[snap this up at undergroundhiphop if you’re cool, or go to amazon.. or grab the import version right here]
Can rock the world. Really fucking hard. If you don’t know this in your body and soul, then take the time to either A) reassess your lifestyle, or B) start listening to their albums and make life a little better for your self and loved ones alike.
Kalyanji Anandji is the name of an Indian composer duo known for their work on Bollywood film soundtracks, particularly action potboilers in the 1970s. One glance at the cover artwork for this LP should be enough to give any music or film lover a head start on these sounds.
In 1998, Dan the Automator collaborated with DJ Shadow to remix, re-title, and reintroduce this action packed eastern funk to a near-clueless western audience. Floating from jazzy windups to frenzied spy-flick jams, it’s a slick and concise rendering of a very specific intersection of geography and time. Imagine the best aspects of the greatest hollywood funk scores (Superfly, Coffy, Shaft, etc) reinterpreted by bollywood composers, and processed though a modern hip hop sensibility. Or just throw this record on and get heads nodding.
[you can grab this used via amazon]
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[Credit to last.fm for info on Kalyanji & Anandji Shah and especially to beatfanatic for introducing me to this album in the first place.]
This band is the funkiest bunch of white guys to emerge from the fertile early-1980’s NYC no wave scene. Featuring one of the most well-known bass lines in recent history, Liquid Liquid are nonetheless relatively unknown to the wider public.
Liquid Liquid is a self-titled collection of everything essential.
To wit: if this band were James Brown, Cavern would be their Funky Drummer. The moment that transcendent rhythm comes to life on the track, you’ll be awash in familiarity and confusion in the same instant. Is this White Lines (Don’t Do It) by Grandmaster Flash? Phenomenon by LL Cool J? Both.
Despite that track’s endearing, enduring charm, it’s not even the best thing here. This collection is overstuffed with quality material, ranging from party-ready bangers to truly outré beat and noise explorations. None of it comes within spitting distance of mainstream pop or modern club music, by any stretch of imagination. One listen though and you’ll be convinced that the ideas contained are the base root for a wide breadth of modern music, popular and obscure alike.
This LP is actually a set released in 1997 by Grand Royal containing basically everything you could want to hear from the band’s limited output. First track Optimo will blow you away. Cavern is next. You’re now on a dark, funky rollercoaster to the end.
[grab this amazingly fresh and complete set at amazon]
bonus: Cavern video!
Optimistic Underground 