:n-the-m:x | March 2024

Welcome to our monthly mix series with each episode spotlighting 10 tracks that we were particularly excited about across various shows on Blue-in-Green:RADIO. This month showcases a selection providing a 40 minute excursion from sublime soul to scintillating jazz and lo-fi dance numbers.

Music this month comes courtesy of... 

'Fool' by Alessia Piermarini (beyourself recordings)

'Girls Be Like' by Principles of Joy (Q-Sounds Recordings)

'Cosmic Justice' by Honest Lee featuring MKMKMK (Growroom Recordings)

'Learning How to Love' by BANDT featuring Aquakultre

'Glamourpuss' by Claudio Corona featuring Alan Evans (Vintage League Music)

'Wide Awake' by Bruno Montrone (A.MA Records)

'Destruction Everywhere' by Abase (Oshu Records x Bridge The Gap)

'Never Forget' by Oriana Ikomo (Sdban Records)

'Brisk' by Lehto (Bathurst)

'You'll Know When You Get There' by Million Seller (Whirlwind Recordings)

:n-the-m:x is exclusive to our Mixcloud channel so be sure to check back at the end of every month for future round-ups.

'The Healing' by Oriana Ikomo

It should be no secret that Sdban Records has a unique ability to discover not just innovative new Belgian talent but artists with a very distinct and clear sound and message within their music.  Even just assessing the label's recent output from the sensational sonic soundscapes of KAU's 'The Cycle Repeats' that draws from a fascinating well of musical ideas including spiritual jazz, hip-hop and broken beat or the all-encompassing sounds of Azmari's 'Maelstr​ö​m' which revels within a unique Ethiopian aesthetic to its music with traces of psychedelia, dub and afrobeat intertwined as well.

With the label now identifying those same qualities of creativity and imagination in Oriana Ikomo, we are subsequently introduced to the singer-songwriter's new EP release, 'The Healing'.  Serving as an extension to her independently-released 'The Love I Had' (2022), Ikomo laid the foundation for her sparse and intricate depiction of contemporary R&B and soul that presented such inspired new perspectives that would ultimately bring her to the attention of Sdban.  'The Love I Had' proved to be an all-round excellent introductory project but in particular we wholeheartedly recommend catching the spine-tingling rendition of the time honoured masterpiece that is 'Afro Blue'.  Sensational.

With 'The Healing', Ikomo elegantly explores themes of identity, self-confidence and addresses her own insecurities over the course of the EP's five tracks.  With excellent and fairly intuitive production that at the right times knows when to provide space like with EP opener 'Kindness' and when to help propel the music forward as in the infectious and rousing project highlight, 'Imma Pleaser'. 

'The Healing' proves to be a multi-layered and nuanced project that further solidifies Oriana Ikomo as a self-assured artist incredibly focused and in control of her music and its underlying message.  Her boundless talents have resulted in another incredibly worthy addition to the Sdban archives - hopefully the first of many more bearing Oriana Ikomo's name.

'Conversation #11 & #12: ON!' by Florian Arbenz

'Conversation #11 & #12: ON!' marks the thrilling culmination of Florian Arbenz's twelve-part series that has generated some thrilling installments.

Having initially conceived the project in 2021, Swiss drummer and composer Arbenz unveiled the first in his Conversation series almost exactly three years ago with the intention of recording twelve albums each showcasing his music amongst various ensembles.  With past releases featuring the incredible contributions of Greg Osby, Maikel Vistel, Rafael Jerjen and Oren Marshall - amongst several other key names from artists across the world - Arbenz's inspired project found its genesis within the confines of his own studio which would ultimately provide the suitable safe space for him and his collaborators going forward.

It's somewhat reminiscent of Ali Shaheed Muhammad's and Adrian Younge's riveting Jazz is Dead series which pairs the duo with a different luminary from the jazz world for each of their releases and, like them, Arbenz is renown for his passion for collaboration.  Creating music with like-minded artists, sharing ideas and concepts, each artist learning from each other... all traits that have served as chief inspiration to Arbenz for much of his illustrious career.

His 2020 'Convergence' project saw Arbenz unite with musicians from Cuba, Brazil, Australia and the UK and proved to be something of a precursor to the Conversation series.  A warmly received project that afforded Arbenz a new creative avenue following his extensive work as part of the Swiss trio, VEIN, alongside pianist Michael Arbenz and bassist Thomas Lähns.

With a career that has seen the drummer grace stages and studios for over 25 years, his continual search for new ideas and inspirations has led him down a fascinating path and to the release of 'Conversation #11 & #12: ON!'.

For these final two instalments of the series, Arbenz is joined by vocalist Yumi Ito, trumpeter Percy Pursglove, pianist Ivo Neame, guitarist Szymon Mike and vibraphonist Jim Hart for an ensemble that Arbenz describes on his Bandcamp page as the riskiest he has assembled to date.  With Hart the only artist Arbenz had collaborated with previously, he seems to have approached these sessions with equal parts excitement and trepidation which is endearing in its own way.  But despite his obvious humility, the results speak for themselves.  Throughout the album's free-flowing and improvisational feel, there are some sensational tracks like the sublime 'Dreaming Music', the mildly frenetic but utterly compelling 'Yemayà is visiting Club 64' or the suitably rousing 'Celebration'.   

As mentioned earlier, this 'Conversation' series was only ever envisaged as a twelve-part project and it's a mammoth achievement that Florian Arbenz has managed to helm projects of such a high standard within just three years.  It will be fascinating to see whether there will actually be further Conversations or whether the drummer will seek to engage in an entirely new project but whichever he chooses, it will undoubtedly continue the lineage of quality and sincerity that listeners continue to expect from a Florian Arbenz release.

'Cosmic Justice' by Honest Lee

'Cosmic Justice' marks the newest project from producer, DJ and musician, Honest Lee, whose latest release is unveiled once again through the innovative hub of creative talent, Growroom Productions. 

And through that very lens of Growroom, one Mylie Durham has managed to chart a thoroughly impressive and engaging musical journey that has afforded himself - and many others - a platform in which to create music steeped in sincerity and unhindered in its design.  For Durham, whether his releases have been presented under the banner of Honest Lee, igloo two, The Mighty Heard or Three Man Soul Machine, it's very much a journey that celebrates his continual compulsion and passion to create.

From his early series of remixes and re-edits of tracks by Ben E. King, Sam & Dave and Ikebe Shakedown released early in the label's life span, Honest Lee's debut full-length release came in the form of 'Solera' in 2018.  A nine-track album that perhaps served as the first full display of Lee's range of talents with tracks as much a showcase of his affections for authentic, vintage analogue soul as it was of hip-hop amongst its influences and inspirations.

Further to his releases under the guise of Honest Lee, Durham's adventures continue alongside Dan Bradley under the banner of another esteemed name under the Growroom banner, igloo two.  Appropriately surmised on Bandcamp as their sound consisting of "lo-fi rock riffs, quirky synth sounds, and hard thumping drums", igloo two's releases including 'silver eyes meets doctor robot' (2018) and 'between time' (2022) have also provided a staple for the label, showcasing new facets to Durham's creativity which ultimately seems to know no bounds.  Whether it's the more gritty soul and hip-hop make-up of The Mighty Heard or the Hammond organ trio aesthetic of Three Man Soul Machine (alongside Scott Schoem and Frank Mitchell), Durham presses on, keen to delve into the new project with a Prince-esque level of prolificacy.

'Cosmic Justice', the second full-length release from Honest Lee, relishes in Durham's affections for collaboration - a revelation that should come as no surprise considering his long list of Growroom projects and productions for other artists.  Across the twelve-track release, Durham - who helms the clear bulk of instrumentation on the album - pairs with a range of top-tier talent including saxophonists MKMKMK and Matt Rippetoe, trumpeter Joe Herrera, percussionist Jerry Busher and guitarist Slanigiro Renguez, amongst others.  

With six years since the release of 'Solera', musically, the 'Honest Lee' soundscapes have found a natural and riveting evolution with a wider scope of influences employed and ultimately we're presented with a far more confident record.  Honest Lee's penchant for dancefloor-driven breakbeat funk and soul is still on glorious display but songs like 'In a Natural Mood' and 'On Days Like Yesterday' offer more intricacies in their composition.

'Cosmic Justice' represents an exciting milestone record within the Honest Lee/Mylie Durham pantheon of releases - it's broader in scope, more self-assured and indicative of Growroom's unwavering affection for music born of creative freedoms.

'The Way Back From Here' by Andy Watts

'The Way Back From Here' - it's such an evocative title conjuring up a variety of thoughts and motivations for each of us.  For trumpeter Andy Watts, his way back emanates from the bleakest of circumstances which happens to be a shared experience for each of in the not soon forgotten quarantine period.

Certainly a cannon event for each and every one of us, the time in isolation are effects that we all still deal with even today with a complete reinvention of everything we deemed routine, mundane... normal.

The impact on the music industry, again, was much publicised with artists unable to tour and collaborate via the usual methods, many artists had to reinvent how they did things, how they collaborated and how they continued to remain present to their audiences.  Being locked away with nothing to do ultimately afforded Watts a luxury of sorts in time.  An invaluable currency and time well-spent with the New Zealander reconnecting with the trumpet and recontextualising his whole approach to the instrument.  The result comes in the form of 'The Way Back From Here' - an innovative and inspired release that takes Watts' music into previously unexplored realms.

For the past fifteen years, Watts has perhaps become best known as a key contributor to the London Afrobeat Collective - currently celebrating the release of their fourth studio album, 'Esengo', the spirited, high-energy ensemble have cultivated a reputation as ferocious live performers with a dynamic "anything goes" approach to their music.  Despite their sound rooted in afrobeat, the eight-person collective still embrace the freedom to explore other genres and styles, much like Watts strives for throughout 'The Way Back From Here'.

With assistance throughout from drummer Filippo Galli, Watts' composition and production navigate bold soundscapes that elegantly - and confidently - fuse elements of jazz with afrobeat and, at times, slightly darker tones of electronica like the trip-hop-esque 'Out of Season'.  Further assistance comes in the form of guitarist Joe Edwards who guests on the rousing album opener 'A Strange Beginning' and London Afrobeat Collective percussionist, Richie Sweet, who adds a vibrant dimension to the resplendent title track.

'The Way Back From Here' weaves through Andy Watts' narrative of music which sees him confronting the period as a time of uncertainty and difficulty but ultimately coming through the other end with renewed focus, hope... and a fairly excellent album as well.

'Lift' by Last Ark Out

The latest release from Last Ark Out marks a welcome return for the Canadian collective.  With their debut full-length having been released back in 2017, the time since could perhaps be best chalked up to life having got in the way.

Frankly, we've all experienced a lot of life in the last seven years with events that have been indicative of such a drastically changing socio and political climate that slowly nudges us either towards global war or environmental collapse.  Much of Last Ark Out's 'Life' seems predicated upon this unnerving state of affairs but, at the same time, provides welcome respite from it all.

From Vancouver, Canada, the Last Ark Out quintet - comprised of guitarist Arthur Pascau Smith, bassist Jeff Gammon, multi-instrumentalist Justin Gorrie, keyboardist James Huumo and drummer Colin Parker - have captured listeners with their imaginative and creative take on contemporary jazz.  

The time in between releases has clearly served the quintet well as we're reintroduced to Last Ark Out through an exceptional record that brilliantly builds upon a framework as established through this album's predecessor 'Wake'.  One further notable change here is the inclusion of some high-calibre guest appearances, perhaps ironically made possible due to a certain global pandemic that taught us that life didn't need to stop just because we couldn't leave our houses.  

Perhaps these bold space explorations - as exemplified by the album's cover and the very notion of "lift" and elevation as the album's theme - have become about sheer escapism though? Certainly not a collective to allow themselves to be slowed down or hindered by something as mundane as a worldwide pandemic, the creation of this album as something of a response to that quarantine period could very well have proved to be the perfect remedy to those feelings of isolation and uncertainty that we all felt.

And while communication would ultimately hail the internet as our hero, allowing us to interact with friends and family - be them simply down the road or on the other side of the world - from behind our computer screens, it can also be hailed as something of a life line when it came to this album's creative process.  Through the power of remote collaboration, 'Lift' greatly benefits from the contributions of luminaries like Sasha Berliner, Sarah Thawer and Larnell Lewis amongst others who add infinite value to Last Ark Out's sensational musical message.

Through a series of spirited and ambitious pieces of music, the album's seven tracks burst with innovative ideas and concepts.  Last Ark Out's high-energy and grandiose soundscapes serve as a melting pot of musical styles from jazz-fusion to funk under an accessible world music aesthetic.

'Lift' is a wonderful release that is perhaps not as much a statement on current times but more a chronicle of them; again, as the cover suggests, should our planet have to endure so much that we're subsequently forced to flee in search of a new collective future then... could the last ark out turn the lights off when you leave?

:n-the-m:x | February 2024

Welcome to our monthly mix series with each episode spotlighting 10 tracks that we were particularly excited about across various shows on Blue-in-Green:RADIO. This month showcases a selection providing a 45 minute excursion from sublime soul to scintillating jazz and lo-fi dance numbers.

Music this month comes courtesy of... 

'It's Natural... Sweat' by Paris Ruel

'Simpatico Way' by The Soul Sound Collective

'IGY' by DJ Harrison (Stones Throw) 

'I Can See' by August Charles

'Exit (Music for a Film)' by The GAB Trio featuring Bea Asurmendi

'Time Passed for You' by Dony Valentino (A.MA)

'Slope' [Opolopo Remix] by corto.alto (New Soil)

'Estuary' [Synkro Remix] by fthmlss featuring Christie (Folded Music)

'Yiri Yiri Boum' by M.CHUZI (Sdban)

'Moth' by The Sorcerers (ATA)

:n-the-m:x is exclusive to our Mixcloud channel so be sure to check back at the end of every month for future round-ups.