Jealous Monk Sun Up to Moon Down (The Theory Remixes) jermaine Quiz industries
Smooth lounge remixes of high-energy, funkheavy hip hop—can it be done? jealous monk knew so, and thus enlisted the production expertise of Californiabased Theory Productions for lounge/downtempo remixes of tracks from their recording debut, Sun Up to Moon Down (2009). a successful crossover into the more laid-back, sink-into-a-sofa aesthetic of downtempo tracks, the album still manages to keep one foot solidly grounded in hip hop, while the other tests the waters of slower tempos, digitized effects, synth pads and other nontraditional instrumentation. The EP is actually but a shadow of its original form—these tracks were not just remixed but rather entirely stripped down and reconceptualized around a solid groove that leans with its new beats. in “Black magic,” for example, the dark, alluring bass line of the original track has been replaced with a ear-catching, glitched-out wobble bass, and the vocals, while similar, resurface anew and wildly effected at the hands of adept producers and turntablists. The remix of “4 more” drips with sensuality courtesy of the new fuller, softer bass lines, the original guitar parts’ swap with synth pads and keys, and the airy echo effects applied to mC/Dj jermaine Quiz’s rhymes. at times, my insides yearned for the original, funky, dancier versions of some of these tunes, but therein lies the beauty of this record: the originals haven’t gone anywhere, yet the remixes bring new perspective and present a wider versatility for the group and their talents.
—Carolyn Heneghan
Blackfire Revalation Blackfire Revalation Southern reconstruction
Being a lover of much traditional music, i was excited to hear about a bluesy metal band. in the vein of other metal bands who are influenced by southern music like Soilent Green, midnight Ghost Train, and even Down, Blackfire revalation is dripping with soul amidst the fuzzy guitar riffs and wails. The album starts out great with a classic metal lurching drum and guitar beat then opens up into a fury of pain when vocalist/guitarist j.r. Fields roughly sings his heart out in “Flood.” He does amazing guitar work on every song, especially “Left Hand Black” and “Each Day i rise.” His style is so bluesy and temperamental, that it’s unlike anything i’ve heard in the realm of blues metal…maybe even some blues bands. The drums are also a key ingredient in thier metal blues gumbo. He compliments the feel of the music, if he’s not downright making the vibe. i loved his parts in “act Like a Believer redux” where he creates such a soulful heartbeat for this living song. His work is not only good as blues though, which he proves in “Skull mask;” a psychobilly song. Blackfire Revalation is very bluesy rock with some metal tones.—Emily Hingle
Terri Lyne Carrington The Mosaic Project Concord jazz
Celebrating women in jazz and the power of music, the multi-talented Terri Lyne Carrington has released The Mosaic Project. Though a cohesive album to listen to, each track veers off in its own direction, eventually coming back to the main picture of things. Carrington’s idea for the album was for it to be an auditory mosaic, which she and her musical colleagues effortlessly achieve. Bookending the album are the tracks “Transformation” and “Sisters On The rise (a Transformation)”, enveloping the listener with lyrics of empowerment amidst cascading piano and fluid vocals which then change to handclaps and funky effects. The transformation between songs is a celebration with countless bright spots in between.
The album’s cover of the Beatles’ “michelle” is a sultry rendition of the famous ode, breathing new life into the light-hearted faux French ditty. angela Davis’ introduction to “Echo” is powerful, setting the mood perfectly for the haunting lament that follows. it is this intensity that follows every track; as Carrington makes her first delve into a female musicianinspired album one hopes it won’t be her last.
—april Seise
EarPhunk Comin’ Up independent
Suitably named Comin’ Up, the debut album from rising young funk/r&B quintet Earphunk showcases rhythmic and melodic intricacies that can be lost in the high-energy, free-for-all jam that is their live performance. in just a couple years, the group has settled into their own fresh take on funk—light and clean with a cool, sultry vibe that avoids sounding at all sterile or commercialized by dabbling in elements of electro, synths, and hand percussion. While most tracks are driven by raging instrumentals alone, others like “Don’t Pass Go,” “realness” and “introducing” benefit from lyrical choruses and vocal effects as well. “alrite2nite” stands out with its smooth, sensual r&B-style lyrics and an extended bridge jam that features delicate hand drumming, synth effects and mesmerizing guitar lines. Guitarists Paul Provosty and mark Hempe, also on vocals, cut loose on heavily entangled guitar solos and duets that are at times harmonized in sync and at other times disparate and exploratory in scale and tone. Working closely with Christian Galle on keys/Hammond organ, michael Comeaux on bass and michael matthews on drums, the group has made this album their proud statement of where funk is heading in the 21st century—grounded by a solid foundation of groove but still elevated by the sounds and ideas of a new generation. —Carolyn Heneghan
