Exmag - Proportions

Merry Christmas, from Slovenian beat-maestro Gramatik a.k.a. Denis Jasarevic!
At least I assume that was his message when he released Exmag's new album, Proportions, three days ago. The group, as well as Gramatik himself, includes Eric Mendelson, Tyler Dondero, Mike Iannatto, ILLUMINTR a.k.a. Bryn Bellomy. A seamless fusion of jazz, blues, funk, soul and electronic (and probably more), it's the ultimate feel-good formula to inject rhythm into even the cloudiest of days. The interlude 'Glasper The Friendly Ghost' makes it clear that the project's influences lie where there is only brilliance to be found, and '#SuperNicer' takes synth bending to a new level of jazzy. 'NuFunk Odyssey' is a personal favourite so far, with an infectious beat textured by syncopated funk licks on the bass and sassy electric guitar riffs. In fact, the whole album is downright SASSY. 

Take a listen to the whole album on SoundCloud and I guarantee your Christmas will be at least 50% more merry that it would have been before:

This Week's Soundtrack

These are the sounds of this week... This week has been a GOOD week.

1) Beyoncé - 'Yoncé/Partition'

Many people have been saying that Beyoncé's visual album is her worst to date, going so far as to say that it's 'terrible'. Well........ they're wrong.

Sneezed on the beat and the beat got sicker
Yoncé all on this mouth like liquor

2) Matthew Herbert - 'You Saw It All'

'You Saw It All' is just a mere rainbow refraction of light on the multi-faceted diamond of an album that is Bodily Functions. A master of both electronic and jazz, you can't go very far wrong with Matthew Herbert. I HEARTILY recommend that you listen to more of his stuff.

3) Yuna - 'Coffee'

Her voice is simply the SWEETEST.

4) Volor Flex - 'Spellbound'

Another great new album, released at the end of the last month, is Volor Flex's Sabo. This is not one to miss if you enjoy the dark, ambient dubstep that comes out of artists such as Burial or Nocow.

5) Kove - 'Love For You'

It's impossible to escape from this song if you're a regular at house club nights, or watch Misfits, or spend any time at all in Leeds. Expect a catchy, upbeat disco vibe and some next-level 'wobs' during the chorus.

6) Drake x Jhené Aiko - 'From Time' (Full Crate Remix)

Full Crate demonstrates yet again that he has the Midas touch.

7) Kraak & Smaak - 'Don't Let People' (Moods Remix)

Moods' Souncloud profile has been a goldmine recently, this remix of the (already brilliant) Kraak & Smaak followed today by a dreamy rework of Jordan Rakei's 'Imagine'. 

8) Dean Martin - 'Let It Snow!'

Oh come on, IT'S CHRISTMAS! And this is the best festive song of them all. Scrooges begone.

Beyonce's Visual Album

If you haven't already heard about Beyonce's new visual album then LISTEN TO IT, FOR GOD'S SAKE! WHAT HAVE YOU BEEN DOING? DO YOU LIVE UNDER A ROCK?

Nah, not really. Actually, it's been pretty difficult to get a hold of it. Incredibly, she managed to release the entire album, 14 tracks and 17 videos long, with no warning or leaking whatsoever. Instead of flicking distractedly from track to track, she wanted listeners to experience the album as an exciting visual whole. By choosing to do this instead of releasing individual singles to create anticipation, she stirred the music world into a crazed buying frenzy, selling over 430,000 copies in just one day. Not only does this prove how business savvy her art is, but could it also inspire other artists to fight for the survival of the album instead of compromising their vision to the increasingly single-driven market?

This album seems to be one of her most hyper-sexualised yet. However, she makes several messages very clear - SHE is the owner of her sexuality and no one should ever put image over health and happiness. While she wants to cater to her husband, she is not 'just his little wife'. And finally, she loves her daughter but she will not let the fact that she is a mother get in the way of her right to have a career or be a sexual being. It is an unapologetic, fierce declaration of independence, balanced with a willingness to fulfil the needs of others out of love and respect (as long as it is mutual.) This is EXACTLY what feminism needs. 

Rival Dealer - Review

Since the (then anonymous) William Bevan released his debut self-titled album in 2006, he has acquired a hugely devoted, yet specifically 'underground' following. This is not to label them as insufferable hipsters; Burial's music could hardly be enjoyed in any other way.

There was always a specific, fairly limited archetype of what the 'Burial sound' was; the trademark vinyl crackling, the distorted, wailing vocal samples and the scratching garage beats all defining features of his music. In the context of a dark, minor key, all these work to create the atmospheric music that quickly became a soundtrack to the bleak landscape of a deprived, street level London. The characteristic style of Burial's music necessitated its place in underground music - dubstep for the neglected, the alienated.

Don't get me wrong, I'm not saying this distinctive, personal style is a bad thing. He did it beautifully and it worked, but there comes a time when a sound so specific becomes limiting if it doesn't evolve. Burial needed to push it further, and that's exactly what he's done with his new EP, Rival Dealer. In my review of Truant/Rough Sleeper I was excited by Burial's move into the realm of the major key. Hopeful? Uplifting? It's a breakthrough!

After having listened to Rival Dealer, that suddenly doesn't seem quite so radical. Almost the entirety of the album seems to adopt a similarly optimistic tone. At the beginning of 'Hiders', the piano chords make it sound like Will Young's backing track for his Pop Idol finale. Likewise, the sparse, 90's beat, joyful string chords and what sounds suspiciously like Christmas bells at the end of 'Come Down To Us' make it sound like something that could have been written by Band Aid. The whole thing is sway-clap cheesy... DEFINITELY not something we'd expect from Burial. Perhaps this shows not just a change of heart but a parody of the commercial, Christmas anthems churned out at this time of year, or a reflection of how distant the reality of life is from the merry, festive atmosphere sold by a society that has redefined the season for the gain of financial profit. 

Then again, this interpretation could be far too cynical. Another novel feature of the music is the untampered vocal samples that Burial has brought to the forefront of the texture. He seems to be piecing together a message that might reveal the thinking behind the tone of the EP. He echoes an experience of 'trying to find yourself', stepping 'into the unknown', the struggle to be unafraid. Perhaps the implication is spiritual, a short monologue at the end of 'Rival Dealers' speaking about looking up at the breath-taking stars and constellations and voicing the first of many appeals of 'come down to us'. 

His final sample of transgender film-maker Lana Wachowski leaves no doubt that although the EP marks a change of direction for Burial, he still continues to give a voice to (and use the voices of) those undervalued and abused by society. The difference is, this time there's hope. Whatever the reason for this transformation of the 'Burial sound', the result is an exciting, interesting and overall magnificent half an hour of gorgeousness. I'm already thirsty for more.