New music round-UP ::: November 2024

'Mother Earth' by Van Fleur

Setting the bar incredibly high with the release of her debut single, Shanell van Koeverden - under the guise of Van Fleur - offers up a sensational display of her talents with 'Mother Earth'.  Assuming duties as the song's vocalist, songwriter, producer and trumpeter, Van Fleur ushers in her complex and multi-layered composition that finds itself rooted in sublime neo-soul, contemporary jazz and a dreamy Latin-tinged aesthetic.  A keen performer and collaborator, 'Mother Earth' sees the Australian artist and musician take the decided steps towards centre stage - and it's potentially a step that has been a long time coming.  A quick glance over Van Fleur's Instagram page allows us further access to what is clearly a highly imaginative, creative and adventurous artist - videos documenting her progress in self-taught drumming lessons are a joy as are the tantalising snippets of covers and demos including Space Captain's 'Easier'.  We're incredibly excited by the prospect of more music from Van Fleur and equally excited about the prospect of watching more of her story unfold.

'Again' by Merna

The brand new single from Canadian singer-songwriter Merna Bishouty marks her second release in relatively quick succession this year.  With the more up-tempo 'Pour My Love' unveiled in August, this more sultry follow-up captures the excellence of Merna's vocal alongside its tailor-made production.  Having initially come to prominence performing under the moniker of Ayah, and having secured some standout collaborations alongside DJ Jazzy Jeff - culminating in the brilliant 'Back For More' full-length - 'Merna' serves as not just a re-introduction but more so a significant evolutionary step in her artistry.  'Again' boasts an added bonus in the accompanying 'And Again' which clocks in at just under two minutes but still serves as the perfect extension to the song's themes.  As a two-track presentation, both are beautifully performed and produced and we're enthusiastically awaiting more releases.

'Untrue' by Flevans

With former releases on Tru Thoughts and following a lengthy and successful stint at Jalapeno Records, the versatile DJ, producer and musician Nigel "Flevans" Evans steps out on his own with the formation of Nearby Bear Recordings.  As an artist in his own right, there's very little Flevans can't do - with past projects running the gamut from sample-laden, drum-heavy breakbeat funk to disco-tinged, dancefloor-centric numbers, down-tempo gems and sweet soul, Flevans has steered an incredible musical path over his extensive career.  The notion of Flevans at the helm of his own label is a massively exciting prospect, whether that involves the freedom to release music on his own terms or whether Nearby Bear extends to being a hub for other artists to create music and learn under the Flevans tree.  With the single comprising three tracks including the soulful 'Untrue' along with the instrumental version and the lush 'Just Reach', both beautifully bolstered by sublime vocal samples.  With the label's first full-length due in April 2025, there's the promise for imminent and great things from Nearby Bear Recordings. 

'Race Against the Sun' by MATTERS UNKNOWN featuring Flavio Correa

Listeners were first introduced to the all-encompassing jazz of MATTERS UNKNOWN via the New Soil debut full-length, 'We Aren't Just', released late-2002.  Serving as something of an alter ego to the project's founder, Jonny Enser, the trumpeter and composer led the charge for an inspired project with ambitious scope and imagination.  Famed as trumpeter for the mighty UK ensemble, Nubiyan Twist, Enser has managed to diversify his MATTERS UNKNOWN project to demonstrate exciting new facets to his music.  The new single - leading the charge for an EP release early next year - finds Enser once again in the company of 'We Aren't Just' collaborators in Rosie Turton (trombone), Nick Richards (sax), Lyle Barton (keys), Matt Davies (drums) and Alec Hewes (bass).  Cuban percussionist and vocalist Flavio Correa guests on 'Race Against the Sun' providing the perfect accompaniment to Enser's perspective on Afro-Cuban-jazz that managed to permeate through to tracks even on 'We Aren't Just'.  A sensational return.

'Grzybnia' by Błoto

'Grzybnia' marks the latest release from dynamic Polish quartet, Błoto, continuing their long-running association with Astigmatic Records.

It's incredible to consider the Błoto journey so far - with their debut album having been unveiled in 2020, 'Erozje' would inspire a further two full-lengths in comparatively quick succession totaling three albums within a year.  That's an inspired level of prolificity and one that seemingly comes second nature to the the Błoto ensemble.

Often considered an offshoot of the phenomenally diverse EABS collective, Błoto's like-minded and ambitious scope has consistently been reflected within their own projects utterly justifying them as completely free of the respectful but lengthy shadow that EABS and their achievements must have cast over them since their inception.

Comprised of musicians and multi-instrumentalists Latarnik (piano/synthesizers), Wuja HZG (bass), Cancer G (drums) and Książę Saxonii (sax), Błoto's unrivalled soundscapes have previously served as odes to everything from 90s Golden Era hip-hop to the dance and house aesthetic of club culture.  'Grzybnia' however finds the group immersed within a further stage of their musical evolution, this time drawing inspiration from one of the most unlikeliest sources...

Mycelium.  Employed as a metaphor to surmise the global impact that the last few years have presented to us all and the inconceivable amount of challenges that have sought to divide us politically, racially and environmentally; a worldwide pandemic ground everyday life to a screeching halt; the continual threat of full-scale war looms over us... 'Grzybnia' seeks to highlight the notion of how working together can ultimately breed different outcomes.  

While mycelium - the fuzzy mass growing on out of date food - signifies the end of one life, it ultimately signifies the beginning of a new one also.  By its very nature, mycelium is rooted within both harmony and co-operation, a co-dependent relationship that identifies the importance of its own interconnected infrastructure alongside the world and the eco system around it.

It certainly serves as a bold metaphor to regard in line with the harmony of our world around us and even in line with a band as a whole.  The cohesiveness employed for improvised music and how each musician connects with those around them.  Musically, 'Grzybnia' sees the Błoto sound take even greater strides with an almost menacing, tightly-woven sci-fi aesthetic permeating throughout the album's otherworldly nine tracks.

'1969' by Gus la tempête

As beautifully recounted on the album's Bandcamp page, '1969' is a project created by the producer and beatmaker, Gus la tempête, in the wake of his mother's passing.  By spending countless hours delving through her record collection, each cherished album and song would serve as another puzzle piece to consider when compiling her musical make-up. 

While no doubt tortuous and uplifting in equal measures, the undertaking would become its own exercise in managing the grief of her passing - a project that helped to lament her loss and at the same time celebrate her life.

For the self-professed "beat broadcaster", Gus' music has consistently displayed a versatility that allows him to forge interpersonal musical connections from the past - as is the case for '1969' - while also being able to steer his productions towards interplanetary realms, like with the technological explorations carried out for 'Dead Computer' (2008) and the futuristic condemnation of 'Slow Down Robots' (2011).

Even as a member of the beloved Electric Conversation alongside long-time friends LaNote, As Valet and Oz, theirs was a group that sought to deliver an incredible hip-hop inspired blend of future soul which is still prevalent to fans all these years later.  The union would spawn two full-length albums released through Futuristica Music - 'Communication' (2007) and 'Electric Conversation' (2013) - which are rightfully highly-revered projects and regarded as contemporary classics. 

The post Electric Conversation years have led Gus to his own Laissedoudis Records which has served as his own musical playground - a "no rules" approach to music-making that continues the legacy of hip-hop instrumental beatmaking in uniquely imaginative ways. 

'1969' will undoubtedly serve as Gus la tempête's masterpiece.  A project that not only helps the producer in his grief but one that can serve as a source of inspiration for others who have endured the same harsh realities of watching a loved one succomb to illness.  That level of truth is absolutely art in its purest sense - the ability to confront thoughts and feelings head on in a manner that can be unbearable but necessary in its own way as well.

There's a poignant quote attributed to Ernest Hemingway which suggests a person has two deaths - the first being when their soul leaves their body and the second being the last time their name is spoken.  For posterity, as this album does beautifully, we honour the memory of Isabelle Marie Louise Hamard.

'Love Child' by Koko-Jean & The Tonics

'Love Child' serves as the second full-length album release from Spanish soul outfit, Koko-Jean & The Tonics, whose varied concoction of explosive 60s-inspired soul music infused with rhythm & blues makes an incredibly welcome return.

Serving as the official follow-up to the band's debut release in 2021 with 'Shaken & Stirred', Koko-Jean & The Tonics openly wear their influences on their sleeve as their music pays sublime homage to the roots of northern soul but still openly embraces various branches within the blossoming soul music tree from blues to rock'n'roll.

Theirs is a passion for the genre that is aptly reflected via the recording home of Barcelona-based label, Buenritmo Records.  Themselves showcasing an incredible array of artists and collectives each boasting their distinctive take on soul music from the quintessential blues of The Sick Boys, the vibrant jazz-funk of Dani Nel·lo + Organ Trio and the raucous swing of Los Mambo Jambo Arkestra.  Koko-Jean & The Tonics couldn't be in safer hands or more at home than a label with such a deep-seeded affection for the genre and its diverse make-up.

Fronted by the awesome vocal of the titular Koko-Jean Davis - formerly known as the vocalist of The Excitements - The Tonics are subsequently comprised of drummer Anton Jarl, guitarist Dani 'Patillas' Baraldés and Hammond organist Victor Puertas.  The trio of musicians form such a tight, cohesive and powerhouse unit that afford Davis the vast to confidently soar over the variety of musical landscapes on offer to her.

From the infectious dance-floor-groove of 'The Spin', the funk-fuelled 'Gonna Be A Party Tonight' (which sounds like it's come fresh from a 2am Prince aftershow), the blues lament of 'Never Ever' and the impassioned 'I Can't Stand You', Koko-Jean & The Tonics present inspired perspectives that harken back to beloved facets of soul music's greats.  

The fact that it's an homage so masterfully put together is what makes 'Love Child' such a distinctive and fantastic project - Koko-Jean & The Tonics continue to occupy a lane all of their own with a sound that is bolstered by intricate production, excellent musicianship and an extraordinary vocalist. 

'Entanglements' by Fabio Tullio

'Entanglements' marks the new album release from saxophonist Fabio Tullio who returns to his home of A.MA Records six years after his debut with the label.

Following the warmly-received 'Tales From Within' in 2018, Tullio's sublime introduction delivered a real gem for the Italian-based label comparatively early within its life-span.  'Tales From Within' ultimately came about in the midst of a diverse array of A.MA album releases that showcased the jazz-funk of Paolo Achenza, the acid jazz of The Motion Collective and the neo-soul meets jazz of Francesca Sortino.  Tullio's exquisite project became an album that helped set A.MA on a path towards its affection for contemporary, innovative and improvised jazz projects helping to lay the groundwork for artists that would eventually follow through the label's hallowed halls like Andrea Gomellini, Gianluca Vigliar and Enrico Bracco.

As an in-demand saxophonist and performer, Fabio Tullio has racked up a strong amount of collaborations over the years including work alongside Mario Biondi, Amanda Lear, The Soultrend Orchestra and the Castelli Jazz Collective, amongst others.  His Papik-produced 'Cocktail Jazz' full-length from 2018 presented some vibrant string-laden, bossa covers of music by Paul McCartney, Nat King Cole and Joao Gilberto. 

'Entanglements' serves as a return to centre-stage for Tullio and it's a return that that is unveiled through an album with such an inspired concept.  A celebration of sorts to the art of performance and improvisation that relishes the circumstance of a collection of artists and musicians creating music within a designated space and time.  There's an excellent quote attributed to jazz pianist Cecil Taylor who astutely noted that "improvisation is the ability to talk to oneself".  It's such an evocative summary of the artform and to expand upon that, if I may, as well as "talking to oneself", there is also the discipline to "listen" to the musicians around you, respond in kind, play your part within that cohesion, supporting one another... It's absolutely an artform all of its own and 'Entanglements' serves to embrace the notion that each session sparks something that wouldn't have existed in any other space or time.

The album is supported by some incredible musicians joining Tullio for this milestone adventure, including Alessandro Gwis and Massimiliano De Lucia on piano and drums respectively, both returning as key collaborators from 'Tales From Within'.  Long-time collaborator and fellow A.MA recording artist Andrea Gomellini features on guitar throughout, alongside bassist Andrea Colella, drummer Valerio Vantaggio, trumpeter Claudio Corvini and percussionist Simone Talone. 

The music across the album's seven compositions offer some sensational pieces - from the cosmic tinged 'Ode' to the spirited 'The Return of Mr Crohn' and notwithstanding the lush intimacy of 'Elements'.  Vocalist Marta Capponi blesses album opener 'Don't Forget' delivering an early album standout and appears again for the three-part closing number 'Untitled Spiritual'.

We'd be remiss in not mentioning the fact that it's been an excellent year for new music releases for A.MA Records - projects by Egidio Rondinone, Katarina Kochetova, Shljuka Quintet and Gianluca Vigliar have garnered exceptional and warranted praise with Fabio Tullio's 'Entanglements' rounding out the year in phenomenal fashion.  If it takes another six years for Tullio to return with another full-length project after this one then we have every confidence that it will without doubt be worth the wait.

'JAZZ BRUT 0001' by Q-Sounds Recordings/JAZZ BRUT & The Principles of Joy

Luminaries of the genre have often opined that "Jazz is freedom".  Words that have at various times been uttered by giants of jazz like Thelonious Monk and Dave Brubeck while they regard the joy of performance and improvisation alongside like-minded artists and in the company of appreciative audiences.  

In fact, Duke Ellington went on to further define jazz as an "unhampered, unhindered expression of complete freedom".  It's such a captivating depiction because it presents jazz as more than just a style of music, but also as an ideology.  An ideology with its own built-in lineage that harks back to New York in the 1920s with musicians crammed into small rooms in high apartment buildings writing and honing their craft at the dawn of the city's revered Jazz Age.

But now, in 2024, Q-Sounds Recordings has perhaps found unlikely inspiration within this framework of collective improvisation as a form of musical expression.  I say "unlikely", in no way out of disrespect - despite the label from Seine Saint-Denis, France, serving as one of the greatest independent soul music labels in the world today, theirs has not been a name most commonly associated to jazz.  However, through the launch of the label's sub-division, JAZZ BRUT, this appears to be something that seems poised to change.

As far as the label's soul music catalogue goes, as just mentioned, there are few who can do it better.  Through the likes of The Vogs, Laura Llorens & The Shadows of Love, The Supertights and Lisa Melissa & The Mess, Q-Sounds have bestowed some phenomenal music for some years now.  While music firmly rooted within a soul music aesthetic, the limitless talent of the numerous artists and musicians attached to the label is unquestionable and it's their soul music ties that make a project like this so appealing.  

For the launch of this enthralling new series, 'JAZZ BRUT 0001' assembles members from one of the label's marquis acts in the Principles of Joy.  Initially formed in 2017, the Principles of Joy unveiled an awesome introduction to their distinctive style via the stunning 'Strong Ain't Wrong' in 2019.  With the release of the band's third album at the top of this year, 'JAZZ BRUT 0001' marks an exciting transition for the group as they immerse themselves within the challenge of something new.  

Featuring Harysson Jean-Baptiste, Loïc "The Butcher" Betems and Jérôme Makles on guitars and bass, Ludovic Bors on Rhodes and Schaël Michanol on drums, the collective unveil a fantastic six-track effort that excitingly embraces the free-flowing and imaginative aesthetic of improvised jazz, while still creating an engaging soundscape that nods to their funk and soul music tendencies along with touches of trippy psychedelia thrown in as well.  'Slow Distortion' presents a restrained easing into the album while 'Twisted Cloud' presents a multi-layered acknowledgement of the aforementioned styles. 

Jazz is a style of music and of course, an ideology, that has perhaps extended further than anything anyone could have envisaged for it.  A genre that consistently evolves and finds itself entwined with a variety of musical styles that continue to bestow new life and new perspectives.  'JAZZ BRUT 0001' proves an absolute thrill to see this baton picked up by Q-Sounds in this way - a fantastic diversification by the label and one that honours the principles that jazz was built upon.  This is freedom, friends.

'Tokyo Tree EP' by Magro

The release of 'Tokyo Tree' via the hallowed halls on Sonar Kollektiv marks a staggering - yet inevitable - achievement and milestone for drummer and producer, Mathis "Magro" Grossman.

The Berlin-based artist has long proved himself as a veritable force amongst today's genre fluid perspectives on music.  As someone who wears the tag of 'jazz artist' just as comfortably as 'hip-hop artist', Magro's independent releases to date help paint the picture of a progressive and innovative artist always seeking new ways to push himself and his music forward.  

Through his incredible Beat Tape series to his standalone singles to his extensive work with world class R&B singer-songwriter Leona Berlin to his own two full-length releases - 'Trippin' (2021) and 'II' (2022) - Magro more than just straddles the line in between various styles and genres; he dives right in, wearing his influences on his sleeve and simply places his trust within his own unhindered perspective of music-making. 

To have fallen onto the radar of the revered Sonar Kollektiv is unquestionably a phenomenal distinction and absolutely a warranted one.  Magro's musical philosophies are very much in line with the Jazzanova-founded label who, outside of their own releases, have also been responsible for projects by electronic music artist Feiertag, vocalist Pete Josef and alternative soul band The KBCS amongst a litany of other free-thinking and far-ranging artists.

'Tokyo Tree' serves as a worthy (re)introduction of sorts for listeners unfamiliar with previous Magro offerings.  But in that vein, the project also serves as an excellent and logical progression of his music releases thus far.  With 'Trippin' and 'II', Magro introduced darker, broader and more experimental sonic landscapes than he had ever dabbled in before and 'Tokyo Tree', again, seems to be a thrilling extension to that established groundwork.

The eight-track EP veers comfortably across nu-jazz territory, pulsing hip-hop production and twinges of electronica influences that all seamlessly blend into each other.  Musically, there's something of an homage to the spirit and vigor of club culture that is infectious and again serves as something of its own motivational force within Magro's music.

With now extensive European touring credentials to his name, the voracious live performer can cite having performed around Germany, London, Amsterdam, Aberdeen, Bratislava and Estonia, demonstrative of the deserved successes that the prolific artist has been able to boast over the last two years.  'Tokyo Tree' rounds this period off nicely and continues to position Magro as an imperative voice for today's music scene.

'the trials of bunny john' by the space travelers union

'the trials of bunny john' marks the debut full-length release by the space travelers union whose inspired new project finds its home through Folded Music's new sub-label, Most Least.

While Asta Hiroki's Folded Music label has served as an independent beacon for innovative electronic music from artists like fthmlss, Catch92, Mick Destitute and Hiroki himself, it's exciting to see that level of care and attention turn towards innovative jazz via Most Least.  A comparatively young label, we've already seen some wonderful releases from A. McCall, new signees in Biomania (who we're also particularly excited about), and of course the early single releases for the union.

Founded by saxophonist and band leader Ryan Wheless, the space travelers union put forth a thrilling and progressive perspective on jazz that pays loving homage to tradition but also embraces the opportunity to create music that forges ahead to carve out its own path for itself.

With compositions that rely heavily on improvisation, Wheless' influences have found themselves cultivated from his extended time of study and performance in New York - as well as having attended Boston's revered Berklee College of Music - alongside his current home in Tucson, Arizona.  

It's certainly a stark contrast - the bright lights and vibrancy of the big city juxtaposed with the unmitigated and natural beauty of the desert.  And it's a contrast that is fairly apt when regarding the music throughout 'the trials of bunny john' - the band's penchant for twinges of an electronic aesthetic is skillfully interwoven into the collective's improvised live instrumentation.  It's a technique that ultimately spawns some exceptional results that, again, pull together these seemingly disparate (musical) environments creating a new not-often explored middle ground.

The album's ten tracks create a variety of enthralling pieces - some that burst with energy and others that embrace the solace of introspection.  Clocking in at just over eight minutes, 'hope' is a sensational number that delivers an early standout for the album - with numerous twists and turns, the track that served as the band's first single boasts a narrative all of its own.  In many ways, this is a characteristic that could be attributed to almost any of the album's contributions.  

'the trials of bunny john' is an album that lives and dies by its own personality and charisma , which is exuded in abundance throughout the album.  It's an album that does justice to the space travelers union as well as to Most Least who have set an early high bar for releases going forward. 

'Re-mind' by Iseul Kim's Liberosis

There's a fascinating world view that comes attached to releases by pianist Iseul Kim.  It is perhaps formed under the belief that music - like any artform - can serve as its own multi-faceted collage representing each of our hopes, fears, thoughts and aspirations.  Each experience finds a way to leave its own indelible imprint on us as individuals serving as a testament to the paths we've walked and the paths still to come.

The sophomore album release by Iseul Kim's Liberosis collective seeks to further detail the evolving components of her musical make-up with 'Re-mind' serving as a thrilling addition to her burgeoning catalogue.

Now based in New York and dividing her time between the US and Seoul, Kim's musical endeavours have been shaped by an inordinate amount of world touring and travel that has seen her perform across the US, Korea, Japan, Argentina, as well as gracing further stages throughout Europe and Africa.  

'Re-mind' is an album demonstrative of Kim's immeasurable talent - from her world class ability as a performer to her credentials as a writer, producer, arranger and composer - the pianist masterfully uses the opportunity of each release to solidify herself as an accomplished and, frankly, consummate artist.

A project that was always conceived as an embodiment of varied musical styles, the first Liberosis project was initially unveiled in 2019 and modestly titled 'Iseul Kim's First Project Liberosis'.  An exquisite amalgamation of contemporary jazz alongside neo-classical compositions and beautifully infused with Latin stylings, resulted in a riveting project that confidently acknowledged the scope of Kim's inspirations presenting them succinctly within the six-track debut.

Despite the eclecticism of the Liberosis project, Iseul Kim continues to explore a variety of other musical avenues acknowledging that there are still more stories to tell.  The Iseul Kim Trio sees Kim perform alongside bassist Inyoung Kim and Liberosis drummer Jaewon Lee delivering a wonderful project with 'True Me' in 2021.  And then there is the more expansive ensemble of her Two Voices project which showcases an assembly of nine musicians and strives to create music honouring traditional Korean styled compositions as well as Western classical music.  Again, a wonderfully ambitious project that delivered the album 'Evolving' in 2023 through the Austrian Boomslang Records.

'Re-mind' finds Iseul Kim in her Liberosis mindset once again delivering an impassioned project that bursts with imagination and delivers as a staggering continuation of the groundwork established through its 2019 predecessor.  Across the album's eight compositions, we're treated to lush orchestral pieces, a scintillating level of improvisation, some sublime solo arrangements and excellent performances from the cast that comprise Liberosis including Jaewon Lee (drums), Ok Jeong Kim (cello), Jongsu Yoon (violin) and Hoo Kim (bass).

Iseul Kim is a natural storyteller and she makes it an artform all of its own.  The compulsion to keep creating music with her own inimitable narrative woven into the tapestry will forever serve as Kim's motivational force, and it will forever be our privilege to embrace these stories for the treasures they are.

:n-the-m:x | October 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 eclectic R&B to some scintillating funk & soul and lush electronica selections.

Music this month comes courtesy of...

'There Must Be An Angel' by Irene Serra

'Brighter Day' by Leona Berlin

'Abyss of My Tea' by Yumeji

'Moving' by Grant Richards featuring Julia Easterlin

'Keep Our Love alive' by Gyratory Allstars

'Le Chief' by A Plane To Catch (April)

'(That) JoGo Groove' by The JoGo Project featuring Bravo Reds & Greg Boyer (Growroom Productions)

'Dinosaur' by Biomania (Most Least)

'Oqueeei' by MOMO (Batov)

'Yo Pe Koze' by Rickysoul The C3PO (Oioji)

: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.