Today marks the release of Entity03: J/J/J/J, an EP that features a collaborative track that I worked on with Jienan Yuan earlier this year. It’s a 9-minute-long journey through organic and synthetic elements, ambience and beat driven electronics, and was a lot of fun to put together.
This year for February, I teamed up with my friend Steve O’Connell to work on an “RPM Challenge Album”. This is where you write and record an album in February for Record Production Month.
It was a lot of fun, and we managed to cross the finish line. We’ll be putting out a version of the album with a more thoughtful mix in the future, but for now you can here the results of 28 days of work right here.
Long end of the year, 2018. Work was super-intense, I did very little in the way of recording. I wasn’t able to put time into NaSoAlMo like I wanted, so I still have an unfinished project waiting for attention.
Now it’s February 2019. The first month was unproductive, but I’ve taken on two projects that qualify as “RPM Challenge albums”, meaning they start and complete in the month. Hopefully this kickstarts a year of music in the same way that last year’s sabbatical did.
Well, I sure didn’t spend any time writing this summer. I did a lot of journaling, went on tour, and have worked on several music projects. I got a job, and have been struggling with how to be creative while being suffused with information and practice in that realm.
No I’m sitting here, about to enter into November, and remembering that at this time of year I tend to feel very down, very much like a failure. Which is perfect for me to get creative.
That’s the Catch 22 for my creative output - I do best when I’m feeling down. I don’t like to feel depressed, but I write better when I am. So, I guess I’m ready to go, because man am I in the pits theses days.
I’m trying to channel the dark thoughts and the dark feelings into a dark album next month. I want to release a 7” record and a full-length tape. I want it to be me at my most sincere, not only about what I write but about what I want things to sound like. I don’t want to be influenced by anything outside of my own mind.
We’ll see how it goes.
Released: June 1, 2018
Listen if you like: Drifting on the beach, spy-chic, rooms with velvet wallpaper.
A band with a storied pedigree touches down again, just in time for Summer.
Morcheeba cast a long shadow with their 1996 debut Who Can You Trust?, and they have rarely set foot outside of that boundary. The formula that made trip hop hit “Trigger Hippy” work so well has been repeated time and time again: Moody, spacious beats, elements of 60’s instrumentation, world music samples, slide guitar, all brought together by Paul and Ross Godfrey, in service to the slithering vocal style of Skye Edwards. Over the years these elements have been tumbled and refined, but almost never deviated from. They are a band who has stubbornly stuck with a style for decades, even with a brief break up in the mid-2000s that saw a departure from Edwards..
Blaze Away shines a new light on Morcheeba while feeling as familiar as ever. The album sees another split, with Paul Godfrey absent, but his absence is not felt. This is Morcheeba at its contemporary best. Production is smoother and more compact than ever, and the tried and true formula has been implemented with laser precision. The blend of hip hop, reggae, dub, and lounge is present as always, but manages to feel updated and fresh. Tracks like “Love Dub” and “Mezcal Dream” will feel like a warm blanket to long time fans.
Perhaps the biggest surprise is “Sweet L.A.”, a stripped down track featuring Skye Edwards accompanied by only a Fender Rhodes. It’s a moving, intimate song that proves that Morcheeba is more than the sum of its parts.
At 35 minutes, nothing outstays its welcome. Blaze Away skips across the surface of deeper waters, touching down in sultry french vocals, MC energy, and Moon Safari-esque spaceyness provided by features from Benjamin Biolay, Roots Manuva, and Amanda Zamolo respectively.
Morcheeba has managed to find new angles from which to approach their signature style with Blaze Away, proving that while their band may no longer be whole, their sound is as intact and essential as ever.