'Still Water' by Nathan Thomas

Not content at having gifted the world two of the year's standout full-lengths in Deborah Jordan's 'See in the Dark' and Georgie Sweet's 'Misunderstood', Futuristica Music now announce the release of Nathan Thomas's debut album, 'Still Water'.

Like Georgie Sweet before him, Thomas is an indelible talent who has spent years as part of the Futuristica fold having contributed to some of their landmark releases.  Simon S's fantastic 'Music 4 Alternative Souls' (2018) benefitted greatly from Thomas's inclusion on 'Sunblind' and the accompanying Simon S remix, and then most recently, Thomas contributed vocals and writing to the milestone project by Deborah Jordan this year, 'See in the Dark', securing a coveted guest spot on the album's title track.  As an added bonus, we'd also direct you to the exquisite live "Futuristica Family Sessions" performance of Deborah Jordan's 'Phoenix' which also features Nathan Thomas appearing on guitar alongside Mark Rapson on keyboards. 

The Futuristica ties certainly run deep and I can only imagine that 'Still Water' is an album that comes with incredible pride from the label who are unrivalled when it comes to identifying unique, distinctive and emerging talent.

Spearheaded by the brilliant Marc Rapson and his production on lead single 'Namaste' with its excellent multi-instrumental-shot video, Nathan Thomas presents his vision of contemporary R&B over the course of the album's ten tracks that really serve as a wonderful introduction to the artist and his talent.

With production on the album handled by two of Futuristica's sonic architects in Simon S and Mark Rapson, the music throughout runs the gamut of contemporary soul from the quintessential R&B stylings of 'Resilience' and 'Namaste', to the future soul aesthetic of 'Sunblind' and the hip-hop-inspired compositions exemplified by a track like 'Manifest'.  The title track in particular warrants special mention - production by Simon S who almost reverts to his Jazz Chronicles moniker for a haunting backdrop that sees Thomas in a reflective state as he meditates: "a message to the man I was, the storm is where the years were lost, your strength alone couldn't hold the tide".

As a singer, songwriter and a musician, Nathan Thomas brings a lot to the table - through not just his work with the Futuristica camp, but beyond, his contributions can be invaluable to the music-making process; 'Still Water', however, now serves as the project that sees Thomas take that decided step towards centre stage.  He's disturbed the waters now and with confidence I can say the ripples will travel outwards for quite some time.

'Manifest' by Dragondeer

 

'Manifest' marks the fantastic new single from Denver, Colorado, four-piece Dragondeer through Color Red Records.

How can we continually express our adoration for the stunning music that comes out of Color Red?!  Well, funnily enough, 'Manifest' is indicative of several of the things that we love most about the label.  Their propensity for releasing stunning music from innovative funk and soul bands many of which has seen their stock continue to rise with awesome projects from Matador! Soul Sounds, ATOMGA and The New Mastersounds.  The label has become a hub of creativity and collaboration and just like the bluegrass collective, Head for the Hills, found inspiration in the afrobeat stylings of Fela Kuti earlier this year with the release of their single, 'Omotola', the blues-rock-soul collective that is Dragondeer credit as the inspiration for their current explosive and blissfully funk-filled number, John Coltrane.

Comprised of band members Eric Halborg on lead vocals, bassist Casey Sidwell, guitarist Cole Rudy and drummer Carl Sorensen, Dragondeer cap off an incredibly successful year that has also seen the release of some brilliant singles like the undeniable groove of 'Mirage à Trois', the funk-ier ode to Mary J with 'Stay High', the southern-esque 'All Day' and the sing-a-long nature to 'Max Patch'. 

Having developed something of a mild obsession with John Coltrane's 'Acknowledgement' from 'A Love Supreme' and the iconic "a love su-preme" motif that the song is built around, a rainy night in Denver, Colorado's, Cheeseman Park saw Halborg stumble onto the early incarnation of what would go on to become 'Manifest' through the creation of the chant “manifest the light, manifest tonight”.  Helping Dragondeer achieve their vision on this release is an inspired all-star line-up of musicians including Eddie Roberts of The New Mastersounds on guitar, the TNERTLE horn section including Leah Concialdi (baritone sax), Alice Hansen (trumpet) and Jon Kenney (trombone), Jordan Linit from Analog Son on guitar and Todd Stoops from RAQ on electric organ.

Clocking in at just under eight minutes, 'Manifest' is a glorious and anthemic number; a powerhouse afrobeat charge that generously allows each of the track's guests to shine while showcasing Dragondeer as another name now enshrined within Denver's rich tapestry of contemporary funk and soul.

An essay written in 2015 by jazz pianist Lewis Porter delved in to unravelling Coltrane's seminal piece of work.  He astutely cites that Coltrane's chant of "a love supreme" - a chant that is preceded by the very motif having been played by Coltrane throughout the song in various registers - acts as something of a "revelation" that God is everywhere and that by holding back the actual words until the song's closing moments, it comes with the realisation that faith is something that people discover for themselves at different times.

It would really be for Eric Halborg to comment upon what the "revelation" was that dawned upon him on that rainy night in Denver, Colorado, but for us, our joy lays in the manifestation of that discovery.

For more info on Color Red, please visit: https://www.color-red.co/

Color Red · Dragondeer - Manifest | Color Red Music

'Say It Ain't So' by Maya Law

 

'Say It Ain't So' is the new single release from Maya Law rounding out an incredibly busy and productive 2020.

With releases dating back to 2016, Law's Bandcamp page is a treasure trove of contemporary soul-infused and dynamic R&B.  The debut project, 'Her or Him', paired Law with the production of Allergy Kid, for a ten-track release that showcased Law's unwavering versatility as she masterfully navigates her way through some inspired hip-hop-esque production.  But more recent releases have seen Law develop her style to present different facets of herself as an ever-evolving artist.

The double A-side single release of 'There is a Light That Never Goes Out' is a particular gem which sees Law tackle the revered Smiths track with the intimate backing of just a piano and some subtle strings which really elevate the entire piece into something incredibly special.  But again, the track is off-set brilliantly against the single's accompanying noir jazz-inspired remix by Gabriel Gifford for 'Breeze' which is another strong highlight.

And then there's the single releases in preparation for the upcoming 'Hitchhiking' EP.  With 'Tired' setting the wheels in motion following its release back in April of this year, the track really excels as a shining example of a contemporary and quintessential R&B track - an infectious hook and great production propelled by some excellent guitar work.

What's exciting about the project's current single is, once again, the slight reinvention that comes along with it - the exquisite back to basics approach found within the song's acoustic guitar-led composition does have you pining for a significantly longer version.  While the old adage 'less is more' holds water as a rule in of itself, it's always exciting to discover an artist adept at exceling on minimal arrangements as much as more complex and intricate sounding production.

It would be remiss when discussing Maya Law's 2020 not to mention her excellent collaboration with singer, songwriter and producer, Freya Roy, for their single 'Fantasies' earlier in the year.  A song scheduled for Roy's upcoming EP release as well, we previously described the eclectic soul number as exemplary of the duo seeking to "carve a new path into the realms of future soul while still clinging to their own musical sensibilities", which we still defer to as the perfect summation.

While anticipation is high for Maya Law's 'Hitchhiking' EP, we highly recommend getting caught up on all the musical delights available to date including this brand new single from a genuinely inspiring talent. 

'Kwiatostan' by Błoto

Under the guise of Błoto, the spin-off project of EABS incredibly return with their second album release this year entitled 'Kwiatostan'.

With 'Erozje' only having been released through eclectic jazz label, Astigmatic Records, in April 2020, Błoto - the quartet comprised of EABS members - make an extraordinary return with their sophomore album release recorded in the midst of the year the world would rather forget.  In times of face masks, social distancing, quarantines and curfews, the world finds itself struggling to get back on its feet and while the arts and music have suffered tremendously, 'Kwiatostan' stands tall as a project born of these unparalleled circumstances.

The Polish jazz septet, EABS, have become fairly adept at delivering a unique and inspired approach to their music, whether it rest in their 2017 debut paying tribute to Polish film music composer and pianist Krzysztof Komeda; or their subsequent 2019 sophomore release, 'Slavic Spirits', which saw them seek inspiration from the 1970s jazz-rock-electronic fusion period of Czeslaw Niemen's music, merging that with themes of Slavic Melancholia, mythology and Polish demonology.  In Marvel terms, we can regard Błoto as an extension of the EABS Universe and as more than worthy flag wavers for their own vision of contemporary jazz.

Recorded over the course of three days in Warsaw's Jassmine Club and comprised of EABS members themselves under new guises including Latarnik (piano/synthesizers), Wuja HZG (bass), Cancer G (drums) and Książę Saxonii (sax), 'Kwiatostan' endorses a notable change in influences for the quartet.  While their affection for 90's era hip-hop still soars throughout - even going as far as to feature Def Pressé recording artist and rapper Toni Sauna on the track 'Hortensja' - musically there are shifts towards more dance and house styled genres that are genuinely inspired in their approach.  

Maintaining that theme of the songs flowing into each other which, for 'Erozje' worked as something of a tribute to those 90's era hip-hop mixtapes; here, that same technique works on an entirely different level with shifting themes and moods throughout the 'Kwiatostan' experience.  Songs like 'Rumianek', 'Milecz' and the seven-minute 'Jaśmin' are so much more expansive within their soundscapes which is in startling contrast to the circumstances the music has actually been created in.  Maybe it was created in irony or perhaps the music represents that desire for the freedoms so many of us took for granted merely six months ago.

'Kwiatostan' marks another resounding success for Błoto and while listeners will no doubt crave album #3, let's all just that it will be an album created in a safer and much happier world.

Blue-in-Green:PODCAST #66: Georgie Sweet

 

Welcome to Episode #66 of the Blue-in-Green:PODCAST which sees Imran secure time with singer and songwriter, Georgie Sweet.

With her debut album due for release later this month through the UK's revered future soul label, Futuristica Music, Georgie Sweet's 'Misunderstood' is a versatile, confident and self-assured album serving as a genuine highlight for an already fantastic year in music for Futuristica.  Having initially come up under the guidance of the inimitable Deborah Jordan, the boundless talents of Georgie Sweet have actually been bubbling away on Futuristica for a couple of years now having chalked up scene-stealing guest appearances on DJ Simon S's 'Music 4 Alternative Souls' (2018) and later how own solo singles 'Here' and 'Sorry', paving the way for the 'Misunderstood' full-length.

The news of 'Misunderstood' finally securing a release date would surely excite those completely taken in by the personality exuded by Sweet's incredible vocal.  Her natural versatility as a vocalist, creative penmanship and her overall presentation make her such a natural fit for Futuristica so it's with great pleasure that we're able to secure time with Georgie to discuss the new album, developing the art of song writing and having the fantastic Deborah Jordan and Simon S as musical mentors.

Blue-in-Green Sessions · Blue-in-Green:PODCAST_#66_Georgie Sweet

'Transcend' by Smokin' Rope [Tim Higgins interview]

 

'Transcend' is the wonderful new EP from UK jazz collective, Smokin' Rope.

Comprised of Gabriel Nacu on guitar, Tim Higgins on bass, Dave Kendall on keys and Luke Simmons on drums, the independent release of 'Transcend' was actually preceded by another three-track EP, entitled 'Live At Club 85', released in September 2019.  'Live At Club 85' served as an excellent introduction to Smokin' Rope, bravely opting to demonstrate their live performances right from the get-go.  And while 'Bop' and 'Fall From Grace' demonstrated the quartet's excellent chemistry on stage together, the project's gem lay in 'Dark Spiral' whose blissful meandering groove, propelled by sublime keys and awesome bass, carried through for five minutes and still left you craving a further five.

Exactly a year later, the Smokin' Rope quartet return with their three track EP comprised of studio recordings of entirely new tracks that have seen all members of the band create together.  While 'Transcend' is still heavily jazz-inspired, Nacu's bold guitar work throughout presents the compositions as more versatile all-round pieces.  His playing on 'East and West' injects real life into the track but then masterfully makes way to Kendall's piano solo before all elements are reintroduced helping to build the track back up again in unison - a real joy!

While Higgins's role within Smokin' Rope is a natural fit, his talents and versatility are further punctuated by his involvement with The Soul Sound Collective.  Headed up by musician and producer Craig Sims, with Higgins on bass, the collective boast a clutch of singles and two 'Music & Minds' EPs under the belt (with a third on the way) - their presentation of predominantly instrumental soul music steeped in its 70's inspirations may seem worlds apart from the music Smokin' Rope, but that's further testament to what Higgins brings to the table.

We're thrilled to have secured time with Tim Higgins to discuss Smokin' Rope, The Soul Sound Collective and overall music inspirations.

What are some of your earliest memories of music growing up?

My earliest memories of music growing up were my parents' record collection.  They had quite varied tastes ranging from The Dubliners to Nat King Cole and Oscar Peterson from my dad, and my mum would play The Stones, Bob Dylan, Motown, Stax, etc.  I lived in North London as a kid and had lots of aunts, uncles and cousins around me playing everything from Elvis to Bob Marley. 

What led you to start playing bass?

I started playing bass as a teenager after first trying keyboard and giving up after I couldn't play like Stevie Wonder straight awa.  I loved reggae and soul - jazz came later - so I swapped my keyboard for a bass as I thought 'I can do that'.  Turned out it wasn't as easy as I thought though but I stuck with it.

How did you and members of the band come together to form Smokin' Rope?

Gabriel [Nacu], Smokin Rope guitarist, worked in a music shop I use in Stevenage (Coda Music).  I was trying a bass out and we got talking about a shared love of Miles Davis.  We started jamming together after that and hooked up with Luke (drummer) through the studio we used where Luke worked and taught; last but not least, Dave (keys), a friend from way back was feeling what we were doing and came out of early retirement - he'd been a producer and musician - to complete the group. 

Were there any artists that served as direct influences in shaping the band's overall sound and style?

Influences in Smokin' Rope are very wide I guess: Mike Davis, Jeff Beck, Pink Floyd, Jimmy Chamberlain, Coltrane to name a few.

How does the process of writing and creating new music usually work for you?

The writing process is pretty collaborative with some tunes coming more fully formed from Gabe which we then play with to see what happens. 

You're obviously a key member within another fantastic musical project, The Soul Sound Collective: how did you come to start making music with Craig Sims and how would you describe the aesthetic between the two bands?

I love doing the Soul Sound Collective stuff which is Craig's brainchild and, as you say, I'm heavily involved alongside Simon on guitar.  It's often a more improvised situation, surprisingly for a studio project, and is an open door to possible collaborators of whom there have been quite a few, most recently with Flyt which was very cool.  Some more Soul Sound Collective coming out soon!

Who would be a dream artist for Smokin' Rope to either record or perform with?

If Smokin' Rope ever got the chance to collaborate with a proper legend it would have to be Pharoah Saunders for me - I love Pharoah and the cosmic jazz vibe.  Kamasi would be another good shout... in fact, I'll have both!

SAULT

 

With their initial debut album shrouded in mystery upon release - the genius approach to the marketing of SAULT's '5' (May, 2019) revolutionised how anyone would have approached marketing an album.  We're actually playing it a little fast and loose with the term "marketing" as the album didn't actually seem to have any.  The all-black cover with the matchsticks forming the number 5, released under the name of SAULT, was almost the beginning and end of all available info for the collective.

But people talked.

And as the whispers of this stunning piece of work spread online, before anyone knew it, a second project was released, '7', just as innovative and revolutionary as its predecessor.

Now in 2020, with four albums released through their own Forever Living Originals label home, the group has become one of the most inspired and cherished names within R&B, soul and funk.

The mystique couldn't last forever though and the predominant trio behind the name were later uncovered as producer Inflo who had partnered with vocalists Cleo Sol and Kid Sister.

Inflo has long captivated as a producer through some stunning projects.  His indelible touch can be found on releases by Little Simz ('Flowers' and 'Selfish') as well as the last two albums from Michael Kiwanuka ('Love & Hate' and 'Kiwanuka') who he produced alongside Danger Mouse.  Musically, SAULT's general aesthetic works as an incredible extension to Inflo's past productions - the beats are glorious audacious funk which are made beautifully for Sol and Sister to just soar over. 

The highs between '5' and '7' for example are too numerous to mention, from high energy numbers like 'Up All Night', 'Smile and Go' and 'Red Lights', to more subdued groove-based tracks like 'Friends' and 'Why Why Why Why Why'.  The 2020 releases, however, presented a different perspective for SAULT's music - released in June, 2020, in the wake of the killing of George Floyd and in the midst of a global pandemic that saw thousands of people in the US wave of social distancing regulations to protest in the name of Black Lives Matter, SAULT released 'UNTITLED (Black Is)'.  The album still boasted that signature SAULT sound over the course of 20 tracks for a record that was part celebration of black culture and pride and part protest music.

Aside from SAULT, Forever Living Original also houses the jaw-dropping release from Cleo Sol, 'Rose in the Dark'.  With production from Inflo - where does he find the time? - Sol delivers a contemporary soul gem steeped in an exquisite 70s soul inspired backdrop.

Forever Living Originals's five album releases to date are as essential a reflection of innovative soul music as you can get and with a release schedule that has moved quicker than we could keep up with at times, we'd implore anyone not currently riding the SAULT train to jump aboard.