This past week saw the second annual Buma Rotterdam Beats Festival, an event organised to celebrate and emphasise the importance of Hip Hop, R&B, Soul, Reggae & Electronic music. Through various workshops, seminars and live performances, the festival brought together a wealth of international delegates, including top European and American managers, bookers, industry pioneers, bloggers and several widely respected innovators.

PinBoard was invited to take part in one of the panel discussions, alongside respected co-commentators like Okayplayer (U.S), Juice Magazine (DE), Puma (NL) and Splash Magazine (DE). The discussion was about the emergence and subsequent dominance of the blogopshere and dissected what it is, as online moderators, we do to ensure our outlets represent the best of spheres. These seminars were a vital ingredient for what made the Beats Festival such a vibrant success. Bringing together creative minds from across the continent and the U.S not only allowed for stimulating debate, but also a chance to exchange insights.

Of course it was ultimately the music that brought everything together and with some incredible shows on offer, we were literally spoilt for choice. James Brown incarnate Charles Bradley was undoubtedly the most electrifying, awe-inspiring act on the bill – his performance at Rotown, supported by London homegirl and Plug Research signing Szjerdene, had the entire city doing the electric slide. An artist and performer birthed from an entirely different world – they really don’t make them like that any more. Most impressively however was Buma’s foresight to invite the UK’s cult rising Hip-Hop collective Piff Gang- a genuine salute to Buma for having ears to the ground and recognising the movement. Very proud to see the boys representing the LDN.

Having taken a significantly large step forward this year with festival programming and increasing their profile in doing so, we give a shout-out to Buma Rotterdam Beats for putting on such an incredibly positive and forward thinking event. The beauty of bringing together an international community and sharing ideas on this scale is how the music communities represented, will thrive in future.

Looking forward to next year…

When a label like Ninja Tune sign up an artist, you pretty much know you are going to get a certain level of quality. And so it is with Jono McCleery, a musician who is hard to pigeonhole into one musical genre. When you first read this, you may be forgiven for thinking that an artist that doesn’t fit into predefined categories is a jack-of-all-trades and a master of none. You’d be wrong. Dead wrong! For me, the joy of listening to McCleery is taking the time out to hear the myriad of influences coming through both his vocals and instrumentation.

Many when writing about McCleery have said his sound is similar to that of Jamie Woon and James Blake, two artists I rate very much indeed. My concession to such statements is that if we are talking about the use of electronics in music making, then yes, to a degree McCleery is like these guys. However, the truth is that to group such a diverse set of artists together is sloppy and a convenient way to write about musicians who cannot easily be categorised.

This sort of ‘sloppy’ critiquing is closely linked to another of the things I find tragic at the moment, the current trend in musical ‘short hand’. We all know that there are ’nuff artists out there who don’t really seem to be saying anything, who don’t even try to bring something new to the table, or indeed, allow themselves to be themselves! What I am talking about is the fact that much of what we hear produced today is too accessible. Even what we would call ‘good’ music is very predictable, following all too familiar rhythms, patterns and structures. Yet, without making his music inaccessible, McCleery defies this fashion. To get the true joy of this adept musician, you must take time with his music. Listen with patience and let the sounds and their accompanying associations take you where they will. The complexity within each song reveal new things each time you return to them. This, for some, might be the primary ‘weakness’ of the album, many might easily dismiss it because they have not paid it the full attention it deserves. More fool them…

Many of the tracks have a beguiling easy groove to them that makes you think of chilled nights. The drums are at once mellow yet persistent, layered on top of this is Jono’s commanding vocals. From distilled resignation and sadness to heartache, pain, love and hope. It’s difficult to pick favourites on an album where nearly every song can stand alone on its own merit. But it seems to be the way of album reviews so here goes…

‘Tomorrow’ (see our Rehearsal Rooms recording here) is undoubtedly a signature piece beginning with an instrumental introduction. Here the violins bring in a quiet intensity encompassing tones that are evocative of folk, the music of the Far East and classical to create what is a powerful intro. This lasts three and a half minutes. you are then awoken from this almost dream like state with the clarity of Jono’s voice, deep and reassuring. His vocals are accompanied by a laid-back insistent beat reminiscent of the Jungle music of Roni Size. He has sited Bill Withers as an influence and you can hear it in the quiet concrete wisdom of his vocal delivery. Some believe that McCleery’s music suffers from over production, but I think that that misses the point entirely. The intricate production acts as a fitting counterpoint to the calm solidity of his singing. Without it some pieces might, I fear, move more towards easy listening.

For ‘It’s All’ we again begin not quite knowing where we are; now it is the bass that sets the opening tone. This time Jono’s voice enters and gives us a deep yearning that simply calls out to your heart. The song ascends into a crescendo of sounds at the top of which is Jono’s wailing. This is a man attempting to get across emotional depth words can’t convey- and he succeeds.

On ‘Stand Proud’ I feel like he has taken me to church and is testifying something true and powerful. In this one song we have gospel, blues, experimental pop and, obviously, soul. Sometimes, the sounds and sentiments he is able to get across with just his voice and a guitar are so exquisite all you can do is shake your head. There are moments in ‘Only’ that are very much like this.

My favourite song, if my arm had to be twisted to commit to just one, would possibly be ‘She Moves’. This is a song open to interpretation. My preferred theory is that McCleery’s delivery makes you think of a lover watching in wonderment their sleeping loved one inhaling and exhaling serenely. This meditative quality to his voice builds to a sense of rapture when, in the middle, the song moves from minor to major key. The result is that you are left transfixed by what is happening, fixed in the moment in much the same way as the adoring lover. (I love it when a musical theory comes together!)

McCleery is clearly someone who does not want to follow convention. It is interesting that the penultimate song on the album is ‘Gymnopedist’. The nonconformist French classical composer, Erik Satie, gave himself this title in 1887. It is difficult to know whether or not McCleery is referencing Satie, what is clear though, is that they both share a similar aim, to make a new type of music.

There Is is released today – buy it via iTunes now

All pictures courtesy of  Danny Wood.

This time last week, I was soaking in every minute detail of the deer park that Big Chill Festival hijacked for 4 music filled, bass stricken, dance fuelled days. With an unbelievable  madness erupting in London that the world hadn’t seen in 20 years. On the other side of the country in Eastnor Castle situated somewhere in between Wales and the Midlands, since the Thursday that I arrived, myself, @def_danny and some good friends had happily had a constant flow of good music to take our attention and our minds for at least 12 hours every day. Bliss.

Thursday

The day of arrival, things had not completely kicked off – music wise and gave us time to take in the sights of the festival arena. The main stage, two large dance tents, a kids section – Little Chill, a Ibiza inspired Barcadi hang out, plenty of bars, makeshift clubs and outdoor soundsystems aplenty alongside what felt like a 100 stalls of various cuisines from around the world made up the little village that became home.

James Blake, the only act performing for us early birds, eased us into the Big Chill with his introverted, blip beat emo led mystic. For those who weren’t as familar with the haunting sounds of ‘To Care (Like You)’ or the frail fragmentation of ‘Why Don’t You Call Me’, started to develop a bit of a lull throughout the set.  At times I wasn’t sure if Blake was the right backdrop for such a mainstream festival, but then I realised this is what seperates the Big Chill from other summer fests, they always sit slightly left of the norm. Content in knowing this, Blake continually thanked everyone for coming out to watch him on the first night, since the same time last year, he was working on a food stall only yards away from the stage. Gotta love the Cinderella story.

Friday

Fresh and ready for a full days worth, the gang and I headed over to The Revellers’ Stage to watch the kooky eclectic Cubic Zirconia outfit. With frontwoman Tiombe Lockhart in skin tight leopard print leggings and a Barbie blond, hair sprayed coiffure, there were definitely indicators to an electro funk era circa mid 80′s. Subtle sexy dance moves balanced with tongue in cheek, lustful lyrics from favourites such as ‘Hoes Come Out At Night’ and ‘Fuck Work’ got the crowd in the mood mid afternoon.

The rest of Friday we fluttered from stage to stage watching PinBoard favs Aloe Blacc, Electric Wire Hustle, Ghostpoet, Starslinger and Ladi 6.

Eventually, we pitched a spot main stage and watched the Swedish soul legend, Neneh Cherry, at the ripe young age of 47 climb off the towering stage, racing into the crowd to hoards of Big Chillers reciting ’7 Seconds’ . One of the stand out, unique moments of timely music. I caught the last twenty minutes of the Chemical Brothers big beat electronic extravaganza and even at the back end of the audience, the panoramic view alongside the light show was a stunning spectacle that engrossed the whole deer park.

Saturday

Also known as KanYe Day, the whole festival had a distinct buzz around it that hadn’t occurred on the previous days. I bumped into friends that had made the roadtrip up from London and beyond up to the Big Chill just for the day specifically to see Kanye West perform his only UK date this year. Expectations were high to say the least.

Starting off at midday with the God daughter of Amy Winehouse, Dionne Bromfield kept Amy in our minds whilst taking on a touching cover of ‘Love is a Losing Game’. The 15 year old, bought a tear to many of the audience’s eyes and another thought went out to the loss of the young singer.

Missing out on Andreya Triana, but catching some of Submotion Orchestra’s euphoric set, I thought it best to position ourselves by the main stage for a good view for later that night. And we were right to do so. By the time The Bullits et al (Lucy Lui, Idris Elba, Jay Electronica) filled the stage, the rain started to trickle yet the crowd had grown in multiple numbers.

Highlight of the afternoon was definitely the ArchAndroid herself, Janelle Monae and her uniformed full band. She shaked her tailfeather, she painted, she James Brown’ed around and even instructed us to kneel down as the rain fell at the most perfect moment. Proudly taking credit for it, Monae told us she “made that happen”. Weird? Yes. But all apart of the enticing, endearing eccentricity of the Wondaland Arts Society. Janelle had the crowd on her side so much, I wondered why she was not the precursor to the anticipated ‘Ye. Instead a summer bay Metronomy set and a regal Jessie J sing down later, the countdown to ‘Ye began.

In the hour or so wait, the crowd moshed, fought, pushed and shoved their way as close to the front as possible. Cups of water were handed around the front few rows, fans were escorted out of the crowd by security as it was hotting up and people were fainting. It felt almost surreal and reminscent of old school Michael Jackson pandeomuim. Just after 10pm, in the middle of Herefordshire, Kanye West came on stage.

Well actually he started from the sound tower which was in the middle of the crowd. When he made it on the front stage, he was joined in tow with a minimal 3 piece band all dressed in angelic white and a dozen or so swan like petit ballat dancers fled the stage with their long limbs and elegance. For nearly two hours, Kanye tried his utmost best to keep to his promise earlier saying:  ”For me, this is the most important show of my summer. I’m going to try my hardest for y’all.” And aside from the 15 minute rant (I can’t say I didn’t expect it) and the hoarse voice at times, there were clear moments of genius and multiple reasons why we (I in particular) love ‘Ye.

Performing tracks from his debut LP, we travelled together through all 5 albums until we caught up to the beautifully produced MBDTF. Hit after hit, the crowd and I sang back each word to him. Basking in complete glory has never been ‘Ye’s style, so rather than close on a classic track and have the crowd roar happily, he finished on an awkardly placed, but touching Amy WInehouse tribute. Playing two of her songs then stating “Thank you for protecting your artists that are still here. This is for McQueen, for Amy, for Michael and for all the media, can you lighten up on all your artists that are still here.” Ahhh KanYe.

Sunday

The day after the exclusive Mr West infiltration, the festival found it’s chilled out nature again and world music took a shining alongside the sun. The afternoon was filled with Femi Kuti’s political afrobeat stance and call for a better Africa with his Postive Force. Art rockers Warpaint followed shortly after and were a favourite of mine. Friend of PinBoard, Jamie Woon grew even more since the last time I saw him.  I’m sure main stages and headliner spots will be commonplace for Woon’s dark soulful, futurist R’n'B  next summer festival season.

While I was dancing away in the Big Chill Radio Tent to Norman Jay and Mr Scruff Live on 6 Music, @def_danny was grooving to the incredible Sharon Jones and the Dap Kings. Heading over to the main stage one more time for the guitar brillance of Rodrigo y Gabriela and Chris Cunningham closing, it was a shame it had to end. One last Big Chill gift was a 2 hour DJ set by Jamie XX over in the People’s Ear Tent. He drifted between deep electronic sounds,to old school Oxide and Neutrino and closed the show with his remixes of Gil Scott Heron to play us out at 3am. And with that the festival was over.

Although the cries of original Big Chillers of the late 90′s/early noughties are convinced yesteryear was better, my first experience was nothing but one of my best weekends this entire summer. Big Chill – see you next year!

The word ‘epic’ is frequently used for many a event that is neither epic, sensational or extraordinary. However, on a Friday night a couple of weeks ago at the prestigous and established Barbican venue, I headed down to watch Basement Jaxx loan their back catalogue  to the Dutch Metropole Orkest to deliver an entertaining evening of complete music merging and fulfill all the criteria that epic-ness involves.

Seated front row centre awaiting the first note, I had a quick glimpse around and assessed the crowd. It was clear that classical music lovers were in the house, alongside dedicated Jaxx fans seated with those who were just intrigued by the unique concept. As the lights revealed the 70 strong orchestra, 40 person Crouch End Choir and ‘Battlement Jaxx’ began, without a strobe light or whistle in tow, who would of thought dance music would of evolved and matured into such (classier) things. A cutting edge approach and a distinctive goal to interpret the music in the most orchestral way possible, I was apprehensive that within the uniqueness of the collaboration, that the essence of Basement Jaxx would be lost.

Luckily fifth song in, Jaxx’s regular singing features blessed the stage. Brendan Reilly, Sharlene Hector and PinBoard homie Vula Malinga all adorned in flamboyant costume injected the famalirity necessary for old school fans like myself. Joined also by a breakdancer, a ballet dancer and the funniest guy of the night, Le Gatueu Chocolate (think Barry White dressed in drag and heels with a little bit of an opera twang to his voice – lol) made for a great mish mash of visuals to keep everyone watching and listening.

Highlights definitely include the constant congo-ing among the front rows and the contagious and seemingly overpowering urge to spontanesouly get up and dance that spread across the auditorium’s audience like a wildfire when tracks like ‘Do Your Thing’, ‘Romeo’ and ‘Samba Magic’ were performed. Brillant vocal performances by Sharlene during ‘Lights Go Down’ provided a rare moment of calm in the show and was definitely a favourite of mine.

At times some tracks seemed almost unrecognizable (‘Red Alert’). Whilst other classics in ‘Good Luck’ and ‘Do Your Thing’ were exactly what you would expect and got the crowd on their feet pronto and all hands clapping.

Hearing 10 years of the Brixton duo’s greatest hits with an elegant string section, perked up and amplified with sharp horns and sexy brass. Then sprinkled with detailed percussion, all orchestrated and executed with conductor Jules Buckley’s guidance was the most skewed interpretation of dance music I have ever experienced. Although the whole concept was entirely out of the box and quite ambitious, by the sounds of the final roar of applause, I would say they pulled it off.

Epic.

The album Basement Jaxx vs Metropole Orkest is out now.

Today marks the release of Beyoncé’s fourth solo album appropriately titled 4. Amidst reports last year that the 16 time Grammy Award winner was recording new music after a year-long hiatus and in the process creating “a new genre” – anticipation for her return was high.

It was a surprise to most then when the first few snippets of the albums lead single ‘Run the World (Girls)’ surfaced. Featuring an uninspired sample of Major Lazer’s ‘Pon De Floor’, nothing about it sounded new or ground-breaking. Reviews didn’t improve after the song’s video premiered either, with most finding the general essence of the track contrived and uninspired – a forced anthem at best.

‘Best I Never Had’ and a stunning performance of ’1+1′ soon followed suit; The former like the first single failed to ignite excitement. The middle of the road mid-tempo penned by Babyface isn’t all-bad, just not strong enough to launch an album into the stratosphere. ’1+1′ however was a beautifully 80′s/Prince inspired ballad written by The Dream, produced by Tricky Stuart and sang to perfection by Beyoncé – signs of hope.

But three singles in and the 4-era seemed a bit shaky. Unlike her previous releases there was no clear definitive ‘hit’ – something the world was not accustomed with Queen Bey. Of course die-hard fans (stans) blinded by their adoration were resilient and defiant against any negative (but founded) criticism.

… But did we all judge Beyoncé too quickly?

On first listen 4 is unremarkable, it seemingly lacks any clear direction and quickly feels dismissable. This is because 4, unlike any other Beyoncé album before it – is different. Heavily reliant on ballads and mid-tempos, with only 3 real ‘bangers’ throughout (‘Girls’ being one of them), 4 is uncharacteristic for a singer who has over the years been criticised for being too predictable.

Unlike her previous efforts this album isn’t systematic. It isn’t robotic. Infact, it’s refreshingly a little rough around the edges. Beyoncé has done what many have hoped she’d do for years – she’s taken a risk.

4 symbolises an artist who has nothing to prove, an album which could only be birthed after having sold over 80 million records, won countless awards and been recognized as one of the biggest and most successful female artists of all time. For the first time it feels Beyoncé allowed herself to be emancipated from pressure and expectation and made a record she wanted to make, as opposed to an album she should have made. But taking risk is tricky business (especially in the fickle age we live) – at best it will earn you respect, at worst it will invite an onslaught of criticism.

And critically speaking this album isn’t without it’s faults, it is by no means an opus – something Beyoncé is frustratingly yet to deliver. But musically speaking it is arguably her best. It may not feature the most ‘popular’ songs of her career or the most ‘expected’ but it does symbolise her most progressive work to date (remembering everything is relevant and that ‘progressive’ in Beyoncé terms isn’t necessarily ‘progressive’ in the wider sense) but above all else it allows, for the first time, a glimpse into an artist as opposed to just a performer.

Vocally Beyoncé has never sounded better than she does on this record – she sings with a rawness only previously heard during her live shows. Yet another example of her taking a less mechanical approach to the new material. Sonically, 4 sees her at her most eclectic too – channeling influences from the likes Prince, Fela Kuti and Teena Marie – it’s much richer than most would expect.

The power ballad drums of ‘I Care’ which in many ways feels strangely modern in 2011 (thank Drake & 40 for that) also showcases an advance in lyrical content (“ever since you knew your power/you made my cry/and now everytime our love goes sour/you won’t sympathize/you see these tears falling down to my ears/I swear you like when I’m in pain”) and vocal prowess. And with it’s Alanis Morrisette-esque style chorus it’s a far cry from perfect and formulaic constructs of songs like ‘Irreplaceable’ or ‘Halo’.

‘I Miss You’ -  one of the best songs on the album – was at it’s very inception out of the norm for Bey who opted to work with Odd Future’s Frank Ocean instead of ‘go-to’ writers such as Ne-Yo or Bruno Mars etc. The harmony structures and vocal arrangement on this track in particular are among some of Knowles’ best work.

Even with all this considered songs like ‘Best Thing I Never Had’ (‘Irreplaceable’ part 2), ‘Countdown’ (better placed on a Destiny’s Child record) & ‘I Was Here’ (the albums most cringe-worthy moment) feel like ‘good measure’ additions – a step back from off the proverbial ledge. Disappointing selections but ones that remind us that Beyoncé is still very much an artist with an audience to cater to and records to sell.

However the downfalls are quickly forgiven and followed by songs like ‘Party’, produced by Kanye West and featuring Outkast’s Andre 3000. The 80′s block party throwback with it’s beautiful harmonies and feel-good lyrics sees Knowles at her very best – but begs the question “why hasn’t she been doing this from day one?”.

‘Rather Die Young’ despite a terrible opening line (‘you’re my James Dean/make me feel like I’m 17′) matures into a rather classy, singable ode. ‘Start Over’ the albums biggest power-ballad is driven by strong drum progressions and an emotive lead piano – sent into hyper drive with Beyoncé’s immaculate (but not too ‘clean’) vocals and anthemic chorus. ‘Love on Top’ is a bright, easy-on-the-ears, feel good jam happily serving most corners of her fan-base. And the off-beat military drums and funk bassline of ‘End of Time’ brings forth a fantastic, epic sounding up-tempo.

With an internet generation of undiagnosed ADHD sufferers, it’s difficult to ask anyone in 2011 to give any album time to resonate – but time is exactly what 4 demands. If invested, the sounds, themes and directions of this album will flourish. However if a traditional, ready-made-meal album with ‘instant hits’ is expected – you’re about to be grossly disappointed. If you listen to 4 with an open mind and an understanding of the context and time in which Beyoncé has decided to release it – then you too will realise that it is undoubtedly her greatest musical accomplishment.

The world has watched her churn out digestible and instantly loveable hits time and time again, and we’ve loved them all – but at some point in every artists’ career (especially ones with over 10 years under their belt) they must progress and do something daring. With this album Beyoncé did just that. Will the world respond with a resounding “YES”? Possibly not, but that’s the chance you take and at least for the first time in her career she can say – she’s taken a risk and has exercised her artistic integrity and for that – she has my respect.

Beyoncé’s 4 is out now via iTunes.

Yesterday evening, whilst some of the team went down to ol’ PinBoard favourites, Eletric Wire Hustle on one side of town, I headed down to East London’s coolest venue of the day, XOYO to witness how How To Dress Well would portray his unique ethereal pop/R&B live.

I was somewhat apprehensive since in the last few weeks that I have found out about HTDW, I have been intrigued by his sound, even those times when it was an awkward listen. But as I walked into the venue, I still  knew very little about the man. To ease me into the unknown, I was happy to see Holy Other was the opening act. I posted up his EP at the backend of last month, which after a few solitaire listens, I started to enjoy the emo’ness that was taking over my body courtesy of his intense mystique.

When the cloaked unknown producer came on, although I liked the tracks I was aware of and some of the fresher ones too, the new experience made up of a large group of people, all caught up in one hypnotic sway was definitely erring on the best side of depressing. Nonetheless a perfectly awkward opening act, for a even more curious headliner. Tom Krell, better known as HTDW came on stage initially thanking all in the packed room. Told us how he just got from Barcelona and he felt sick. Gotta love the honesty.

Not knowing much about HTDW, other than his distinctive  voice, I enjoyed the set and it seemed the crowd did too, performing new songs and mixing them with previous releases like ‘Sucicide Dreams 2′ and his Transparent release ‘Take It On’ where there were definitely moments of Justin Timberlake’ness sprinkled in for good measure.  As he scattered between high pitched vocal and Mika-like sounds, whilst pulling his jumper with childlike tendencies, there was a freedom in all that HTDW was doing – it was all  imperfect to the mainstream eye, yet for me, it was uncomfortably acceptable. That is what kept me watching. From the folkey acapella which suddenly had a fighting falsetto harmony section, to the three minutes which HTDW intensely stared at a projection playing a haunting (to say the least) montage, then rapidly leaving the stage. All out of the norm yet enjoyable to get drawn into.

He performed new songs, such as  ’How Many’ which had a easy on the ear dancey loop, with soothful harmonies kicking in midway. I also enjoyed what he described as his ‘Eurovision entry – possibly?’ ‘Happy’. The track possessed a massive thumping bass, rave sirens and a complete fall to floor that could only make you dance. All this alongside his nu-R&B flavour is all the more reason why HTDW will be closely watched by us PinBard lot for a while.

After hearing Tanya Auclair’s reworking of Roy Davis/Paveen Everett’s ‘Gabriel’ right here on PinBoard, I was on a feverish hunt to track her down at a live gig. My mission came to an end last Thursday at the launch party for her new EP Origami held at Servant Jazz Quaters in Dalston. What can I say? I am in love with Tanya Auclair! Not even two songs into a set of 10, Auclair had already played five instruments. This is a woman who loves to play with music to see what she discovers.

It’s worth mentioning that I was stood in the midst of some hard-core Hip Hop fans who had been talking about seeing Mos Def and Talib Kweli live and who were sad to hear about the death of the legend, Gil Scott Heron. It was, by anyone’s standards, a tough crowd. By the middle of her set, standing pretty much under her nose- not a psycho fan, I promise- I turned around to see a packed room of people swaying to the good vibes coming from Auclair’s beautiful and at times, haunting music.

It’s easy to dismiss an artist like Auclair as merely being about the gimmick of using the loops. I’m sure many of y’all have been to gigs and open mic nights where the loop is used as a sure fire way of proving musical worth and breadth of talent. But, the fact is, not many, really only very, very few, can match the rich musicality of Auclair. I felt like a kid seeing ET for the first time watching her create music from seemingly nowhere.

Central to the EP is the concept of how origami shapes are formed through a process of tiny folds, which combine to create a complex object. For Auclair, this is what she is doing through music. As a listener you are brought back to the old days of the blues, where basic and unassuming instruments are put together to make music that could tear at the heartstrings. To some extent, Auclair is a follower of these particular musicians rather than the studio centred approach of electro/experimental pop. Obviously, layering of musical elements is not a new thing, all music to some extent does this. What is special about Auclair’s way is that when you are given the opportunity to see her live, you are brought closer to the process of song making. It’s exciting for the audience, because we are seeing how composition comes together to create music. There is a sense of wonder that comes from seeing where she will go with the layering of: fingers clicking; teeth ‘tictching’ (if that is even a word); light breathless sighing with military drumming and Kraftwerk type electronica and it is this that makes the live experience a must and privilege.

On stage Auclair is in her element and proves that some people are just born to do what they do. Through the course of the night, her music took us from a sexy coolness that has you tapping to the infectiousness of laid back swinging beats to slight and distant echoes of dirty drum ‘n’ bass, to discordant trippyness. At points contemplative and light, it’s easy to think that this is just music for falling in love in the summer to, yet she is able to smack you with tunes that have the deep intensity mountains give off, weird, maybe, but it is the only way I can put it. Her layering of sounds shows a maturity of musicianship that proves Auclair is worthy of being talked of in the same breath as Bat For Lashes and, maybe one day, Kate Bush. She is brilliant, like I said and in case this review didn’t make it obvious enough, I’m in love with Tanya Auclair.

Mad props to Auclair’s drummer Joe Allen and double bassist, Arista Hawkes. If you can see her live, do it, if not, download her EP!

An impromptu visit to Manchester over the bank holiday ended with me leaving a gig by one of the best male vocalist to come out of the UK this year.
Jamie Woon (or Wooney as he is known by the locals) was as beautifully dark, subtly intimate as a show can come.

Void of a extravagant light show or alternatively a  gang of dancers, the night started with the welcomed surprise in supporting act Jono McCleery.  Unaware of the young crooner, I was taken by his mixture of acoustic guitar, layered bass line and jazzy fractured drum patterns that just about kept in enough time for McCleery to sweep through the gaps with his haunting tone. McCleery’s soft melodic structures are far from the frequently cliched folk tunes often churned out, ‘Tomorrow’  (single out on Ninja Tunes) being the standout track. A passionate dreamy prelude that provided a great transition into Woon’s set.

The same authenticity embedded in Woon’s debut LP oozed out in the live show without any comprise. He built each song with a enthralling amount of human beatboxing, looping and finger clicking in front of the audience, as if he was doing it for the first time in the studio. ‘ Shoulda’ and swinging gospel soaked ‘Spirits’  were layered meticulously using his trusty loop machine, plethora of guitars and the threeman band. A crowd familiar with Woon’s transferability allowed him to ease through a rockier version of ‘TMRW’ to fluently perform ‘Middle’ that is laden with Michael Jackson echoes and then flip to an electronic commercial gem such as ‘Lady Luck’. All with the same dose of substance carved in each track.  In a time where every artist has at least 10 dancers on each side of them or a hypeman, it was a pleasure to witness an artist possess equal measures of soul, complexity and originality in their live show, as their debut album boasts.

DELS. Definitly on the scene and one to watch. The hype machine is slowly, too slowly if you ask me, getting into gear over the young man from Ipswich. Some have called him a cross between Dizzee and Bjork, personally, I didn’t hear that on his debut album GOB. To me he seems a, very worthy, pretender to Roots Manuva’s throne as the UK’s number one MC. Unsurprising as they share the same label, Big Dada, home too of Mercury Prize winner, Speech Dabelle. Read the review after the jump…

From the very first airing of the album, you can tell that accomplished producers have lent their hands to the 11 tracks. It would be too easy to say that the maturity of the album is only down to the work of Joe Goddard of Hotchip, Micachu and Kwes. Dels’ own lyrical dexterity shows that he is someone who has a lot to say about the world around him.

GOB is refreshing because it tries to remain real to what is happening at the moment. Dels shows that the next generation of U.K hip hopers are not only concerned with second rate collaborations with U.S artists, going on about how they made it from the streets. Socio-political tunes dealing with gun crime, the bogus reasons behind invading Iraq and domestic violence show that this is a person who is in the game for the right reasons.

As with any underground classic, GOB is a mixture of the tunes that are instant head banging anthems (Shapeshift) and then those that take multiple listens but which inevitably become favorites (Eating Clouds). Capsize, featuring and produced by Goddard, is an electro/hip hop/ragtime fusion whose steady beats make you want to shadow box around your room. DLR featuring Elan Tamara has the same melancholic contemplative mood of Speech Dabelle’s collaboration with Micachu.

Recently a Facebook group began a campaign to re-launch ‘Ghost Town’ by the Specials. They wanted the protest song to be made number one in time for the royal wedding, it didn’t work- I bet you didn’t even know about it. My point is with an artist like Dels, it is clear that we don’t need to look back to the 80s to get social commentary that is politically switched on. What Dels is doing is speaking out for a new generation and, may God help me for quoting LL Cool J, he’s ‘doin it well’.

Without a doubt, Dels is here to stay and I for one am happy about that. If you’re looking for a soundtrack for summer 2011, look no further. It is here. Don’t let what happened to Speech Dabelle happen this time around with Dels. C’mon son, you know you should be out there getting yourself a copy!

Wiz Khalifa, one of the new class of hip hop hopefuls for 2011 was in London town this week for his first headline set of shows. Like fellow graduate, J Cole, the sold out shows were with much anticipation and fans bought tickets based off the success and love for the mixtapes.

Unlike J Cole, by the time the concert came around, a lukewarm album dropped, a mainstream anthem has become of ‘Black and Yellow’ and off the back of this, new fans have assembled themselves onto the Wiz wagon. All these ingredients led to a show of mixed emotions, not to mention the mixed smells in the air. Heading to the Kentish town Forum on Wednesday night, the queue was a blend of loyal hip hop alumni, seperated distinctively by exciteable young girls chanting the infamous colourways and matching their garments accordingly too.

Semtex warmed up the crowd with some grizzly bangers from Jay-Z to Rick Ross and definitely got the audience hyped. Wretch 32 came on as the support act and seemed to have a hard time convincing the crowd of his talents. I like Wretch and have seen him kill it with a live band before, but this time, most seemed uninterested. It’s a shame.

By the time, Wiz came on stage, expectations were hovering high, build up had been delivered, yet the result was mediocre. Considering I was among die hard followers, often times, they appeared well…bored. Yes there was a noticable wave of elation when he performed ‘Taylor Gang’, ‘Phone Numbers’ and ‘Roll Up’. Those moments had hands in the air and singalong crew in full effect. Wiz played along and the showman inside pranced, gyrated and worked the stage as much as possible. Even removed his top for added brownie points for those (pre-legal) girls who ignored their curfew, but a glistening torso made it all the more worthwhile.

Then there were a few lulls. Silences almost. Mostly when Wiz performed the three minute, something radio friendly album tracks such as ‘No Sleeping’ and ‘Fly Solo’. The reality of such average fillers in a venue that a moment before were charged with chants of ‘Money and Hoes’ courtesy of ‘Gangbang’, along with sporadic mysterious..ahem…clouds forming in the atmosphere only made for the most disjointed concert and ergo rapper I have seen in a while.

The short set was redeemed with the obvious ending of ‘Black and Yellow‘, where the crowd reconciled and found common ground, but the dichotomy of Wiz Khalifa and his fans remains present for now.

Click cover to download

Producer Freshnerd of 100 Akres put together some more ear candy I want to bring to you even though this one was supposed to be just for the fans, not so much the blogs. Don’t be fooled by the photo or the title Freshnerd means loosies, not your favourite redheaded comedienne. This is a collection of very different loose tracks- unreleased beats, songs and parts of projects.

Freshnerd’s presentation is always well done. This time he’s got comments and backstory to go along with every track at loosies.100akres.com so you can read along as you listen, then comment when you’re done. I thought that alone was clever, innovative and impressive.

My only critique is that though this beat tape is innovatively presented, the songs should’ve been labelled, ordered and tighter-matching with their corresponding posts on the website. Yes, that is a small thing and no, it’s not music related, so here’s what stood out for me on I Love Loosies.

‘Fools’ has a sample of one of my favourite parts of Frankie Lymon and the Teenagers ‘Why Do Fools Fall In Love”. Comments/Backstory

For ‘RubyJewel BeatMix’ read the backstory while you listen so you can understand why this headnodder will be jumped on by somebody soon. Comments/Backstory

‘slumBOP’, with its retro, jazzy soup groove and drums, made me put it on repeat. Comments/Backstory

There were other dope tracks on I Love Loosies too, like ‘I’m So Hi…Hello’ where the backstory makes the song more impressive (shouts to Jillz). You’ll be glad Freshnerd made that info available for all of them…you know, if you’re a music nerd like me.

Producer Shade Cobain’s latest release, Them Fighting Words Presents: Cobainish Theory is an instrumental project that’s all about him.  In the past he’s given us two other “theories”, Cassette Theory: Beat EP and Anti-Love Theory, but now we get to peek into the Pittsburg, Pennsylvania native’s brain through some cool Hip Hop, snythy, jazzy, soulful beats.

It opens with Charlie Sheen talking about how his brain works followed by an instrumental with a sample saying “Step Up”.  Indeed the rest of the album challenges the listener to get into producer Shade Cobain’s brain.  Don’t worry, the album doesn’t decent into what some are calling “Sheenery” these days, nor is it an exercise in self indulgence.  Instead Cobain cherry picked samples to illustrate his thoughts and feelings on Hip hop marketing, his motivations and a major theme for him- love.  He’s a smart guy so listen close. 

There’s lots to dig through here and none of it is as dark as the cover might portray.

Standouts for me include: ‘The Chase (Drum Snobs)’ with it’s warbled horns, ‘Black Friday (The Price)’ a clever take on the popular game show ‘The Price Is Right’ theme song, the head-nod track ‘S.O.U.L. (Reference)’ and throwback feel of the bonus track Get Down.

Check out all of Shade Cobain’s ‘theories’, download them all. Listen to this one in full via the bandcamp player below…

Dark and obscure, ‘Night Air’ serves as a brilliant encapsulation of the type of artist Jamie Woon is. That somber post meridiem ode is systematic of what can be found on mirrorwriting, Woon’s debut set. Painted over the course of three years mirrorwriting is stocked with enigmatic lyrics, reverberating vocals and exceptional productions.

Crafting what can only be described as futurist Rhythm & Blues, Woon delves deep into his influences spanning Folk, Gospel, Prog and 2-step. These sophisticated compositions are bound together by mournfully beautiful lyricism carried by a quivering, introverted voice that steers clear of ad-lib excess. Woon’s ability to write poetics – often drawing on symbolic, nocturnal imagery and the elements – enable him to create emotive worlds of fear, anxiety and longing that can be as consuming on the listener, as they evidently are on the singing sufferer.

Darkened 808′s, off-beat kicks, ghostly percussives/handclaps, heartbreaking guitars, soul stirring synth chords and vintage bass riptides create the unique atmosphere that Woon has delicately carved around himself. Yet unlike his contemporaries (and/or any trendy journo perpetuated contingents), Woon is proud to inject the one thing that will set him apart from the other 3am inspired poe-faced breed: his channelling the power of Funk. Yet clearly inspired by ‘Night Air’ co-producer Burial, he has somehow merged Funk with the gothicism of Untrue-era 2-step and developed a new breed of R&B. So, all low frequency oscillation aside guys, real basslines are back. And even then, if William Bevan was a singer, this is probably the album he could have produced. But that’s not to insinuate Woon has carbon copied, far from it – in fact, he has (maybe inadvertently) created something distinctly original, something that couldn’t have existed without that which had come before it – but something that until now, hadn’t been propagated.

Song for song Jamie shines, from the lonely call of ‘Street’, to the regretful musings of ‘Shoulda’ – illuminating a path through his visceral, psychological fog. His sense of melody on tracks like ‘Lady Luck’ and ‘Middle’ further proves the strength of his songwriting. The aphotic spirit of ‘Echoes’, with it’s crashing drums and haunting effects, sees Woon singing his most soulful falsetto. The near-Detroit swing of ‘TMRW’, the agony of ‘Gravity’ (my personal favourite) and the simplicity of ‘Waterfront’ help bring what can only be described as a completely original body of work to the light at the end of it’s tunnel.

All of us here at PinBoard strongly believe Jamie Woon has produced an album which not only innovates, but also holds important significance as to where we have been and where we have arrived. mirrorwriting is intelligent, truthful and at times even devastating; it’s a yardstick for how R&B (stagnant and regressive as it’s been these past 5 years) can evolve to a higher cerebral plain. Representing a generation who’s musical minds were forced open by the obscure sounds of Timbaland, The Neptunes, Burial, MJ Cole, Radiohead, etc. – Woon has delivered an LP which I for one have been waiting a very, very long time to hear. Here’s to hoping the world is open enough to understand what this really is and that they (you, we) give it the attention and respect it deserves.

mirrorwriting is out April 11th 18th 2011.

Queen Fatima and Floating Points will be releasing a collaborative EP entitled Follow You this May.

The 4 track extended player ditches the ‘glitchy’ Soul that we’ve come to know from Fatima, and instead focuses on a more softer, soulful-jazz-infused instrumentation. We have Floating Points to thank for that. His productions here are impeccable – warm, exciting, crisp and just simply stunning. Points was definitely channeling his inna-Dilla on a couple of these compositions.

The EP’s opening track ‘Cinnamon’ has such a spirited bump to it, when I first heard it I may have jumped out of my seat a little. Not just because the track is great and Fatima sounds great on it – but because this is exactly the type of material I have been (not-so-secretly) hoping Fatima releases. Don’t get me wrong, our homegirl has done her damn thing over the past few years – working with the likes of Shafiq Husayn, Funkineven and Dam-Funk is not be overlooked. But, as a huge fan of her vocal chops, I’ve always felt that the very best of her would be exposed while singing the more melodic side of Soul. When I heard her on he Floating Points Ensemble track ‘Post Suite’ – ask anyone around me – I was buggin’ out. In fact, I still am – that track gets played weekly on my end.

The EP continues with ‘Mind’, which some of you may have already heard as a radio-rip on YouTube when she performed it on Benji B’s show (listen below). This track has a funny history with my co-pilot and I – bottom line – I own him an apology. The swing, combined with Floating Points sensational use of atmospheric synths – yea, consider my ‘mind’ well and truly blown. And of course, Fatima’s soaring vocals sounds like buttah (yes, buttah).

‘Innervisions’ is up next. Minimalistic, acapella introductions, interjections of synth heavy basslines – here all distractions from Fatima’s multi-layed vocals are gone. This is all about the chanteuse and rightfully so, her vabrato is more soothing then a Strepsil.

An abraded sounding 808 kicks in on the extended players final number ‘Red Light’. This is definitely the funkiest track out of the 4 and a perfect way to end the dynamically enthralling experience that Follow You offers.

The blogger in me is itching to post a track, but alas, I have been sworn to an embargo but the folks over at Eglo have informed me that they’ll soon be releasing some streams – so hold tight.

I’m excited to hear Fatima doing what (I feel) she does best. I have a really great feeling about this project; We’ve all seen this lady hustle and grow over the years but I believe now is her time. And I feel Follow You will expand her reach and open more doors, especially on an international tip. It’s easy to forget that we have our own steeze here in LDN (something I love and am extremely proud of) but sometimes it can get lost in translation. That’s not to say we should stop doing what we do – but with this new direction, I think Fatima’s fan base will grow with greater ease.

Follow You is released on May 9th via Eglo Records.

Update: Listen to ‘Red Light’ here.

If Drake had his own gig in The Comeback Season/So Far Gone days, J Cole at Koko last night would of been everything it could of been. As far as debut concerts go, J Cole had it all. An electrifying crowd, a packed out-filled to the roof venue and a shockingly good back catalogue based off nothing more than the internet and some mixtapes.

I felt like I was apart of history as I excitedly entered the ram packed London venue. Roc Nation’s first signing, J Cole’s first ever solo gig in the UK and London was playing the proud host. No affiliation to Jay-Z. No attachment to Drake. Everyone in the place was there to see him.

As I made my way through the mob of twenty somethings, there was a palpable buzz in the air, everyone was waiting to enter Cole’s World. Discussions of favourite tracks and first discoveries of Cole filled the room, whilst Semtex braced the crowd for what was to come, dutifully dropping the bangers.

The crowd became slightly hesitant whilst grime act, Maxsta opened the show. There were mixed reactions, some were duly bopping their head, others were becoming even more impatient from the waiting. Personally, I don’t think it was the best decision to bring on such an act for this type of crowd, but Maxsta and his boys held it down.

Before anyone got any more weary, Cole came out and ignited the stage. The three balconies up top plus the standing area downstairs came alive as he went through the best of his (mixtape) discography.

Songs which I guess we can now call ‘classic’ like ‘Lights Please’ (watch his piano introduction – dude is talented!), ‘Dead Presidents II’, ‘I Get Up’ and ‘Dollar and a Dream’ from his second mixtape The Warm Up were easy hype vehicles, each one sending the crowed into even more frenzy.

When he mixed up the set with tracks from the recently released Friday Night Lights and debut mixtape The Come Up, it was clear to see that a lot of people, especially during this time in our generation, understood and related to what he has been saying. Highlights for me included ‘Enchanted’, ‘Blow Up’, and ‘Higher’. There is something about Cole that is constantly positive and intriguing to watch. Each lyric came through with heavy passion and a real sense of modesty. He stood appreciative and was grinning throughout. No hype man required, he just brought himself entirely.

A small part of me wished that Drake or Wale came out to join Cole on their respective tracks (‘In The Morning’ and ‘You Got It’), I realised the very request at such a strong night was out of pure greed.

Grateful for the opportunity and amazed at the sold out show, on numerous occasions Cole thanked London for coming out to see him. Astounded at the epic nature of the show, Cole complimented us all for jumping on him (pause) early, whilst he assured that others will catch up soon. Showing his gratitude even more, he jumped into the crowd during his last song ‘Villematic’, making sure he high five’d as many people as possible.

Overall it was nothing less than an impressive inauguration into the game. Full on, non stop and totally kept 100 throughout. This is hip hop 2011.

Cole World.

*Peep some footage here, courtesy of The Hip Hop Chronicle*

I need to remember that this is not a 20,000 word dissertation. As tempted as I am, this is not a thesis on the complex and magnificent inner workings of this piece of art. This is by all intent and purposes, a review as to why I (we) believe Janelle Monae’s debut album The ArchAndroid deserves it’s place atop our illustrious ‘Best Album of 2010’ list.

Most artists’ strive for years to make an album as critically successful, conceptually distinguished and as musically diverse as Monae has done on her first long player. Without any hesitation, I have and will continue to cite The ArchAndroid as one of the most impressive debuts of recent years or even, dare I say our Generation Y (this really has been THAT year for us).

Dipping in and out of genres and delving deep into illusory worlds as The ArchAndroid does is no easy feat. It’s difficult to grasp how this young mind was able to not only form such ambitious ideas, but to execute them all in such a unified and impressive manner.

An “emotion picture”, a term we had never heard before (in the context of an album) is the basis of what makes this LP different from everything else. Penned and copywritten by Janelle and her Wonderland Arts Society, it is this very idea which from the offset makes The ArchAndroid culturally very significant.

Divided into two suites, separated by lavish ‘Overtures’, the LP begins as any self-respecting epic should – with a flamboyant orchestra; Strings, brass, percussion etc. A lot can be said about an artist signed to a label like Bad Boy (lol) exposing a new generation to Classical music, but bearing in mind my opening statement I’ll have to incept that idea (Chris Nolan style) into your peripheral  for your digestion at a later date.

This though is just the beginning.

After it’s glitzy introduction we are transported into a world of colour, imagination, styles and ideals. A world which on first listen is admittedly, a little overwhelming but once familiar with it, could change your life.

In Metropolis (the fictional world where the album is based), there are no borders, no genre limitations, and no end to where the musical scope begins or retreats. This audio assault transcends through Funk (‘Dance or Die’, ‘Tightrope’), R&B (‘Locked Inside’), Punk Rock (‘Come Alive (The War of the Roses), Folk (‘Oh Maker’), Acid-something (‘Mushrooms & Roses) all drenched in the perfume of Monae’s Afrofuturism.

Within these beautifully crafted songs, is the pivotal story of Cindy Mayweather (introduced to us on Monae’s debut EP Metrpolis: Suite 1 (The Chase)): the uncorrupt savior of the android community. Her bridging the gap between the “haves and the have nots” is actually a complex, maze-like insight into the socio-moral compass of Janelle’s mind. Look and listen closely and you’ll see/hear emotional conviction, sometimes abstracted by the busy-nature of the sonic forefront. See: ‘Cold War’.

The most sensational thing about Monae though, even after everything discussed– is the fact that above it all she is an exquisite singer. Vocally, she is remarkable. Power, clarity, range, style – her vocal chords are blessed. In delivering such a labyrinthine project, she would be forgiven if her voice wasn’t as great as it is, but by some miracle she is as gifted a chanteuse as she is an architect.

Oh, and to deify her even more – she performs like the spirit of James Brown has infiltrated her mechanics. Hands down one of the most electrifying live performers I have ever seen (and this is from someone who has seen both Michael Jackson & Prince in concert).

The ArchAndroid is awe-inspiring. It is genius. At times it seems almost too big to digest, but with a little fortitude, some concentration and an open mind – you will come to accept that this 70-minute blockbuster is something that you will one day pass on to your children, as my parents did Songs in the Key of Life, What’s Going On and Off the Wall. Never forget that this is Janelle Monae’s debut album. Her first attempt at putting together an interrelated body of work; what the future holds from this point on I really do not know (and trust me, Shan and I have discussed this at length), all I know is – if this is what she can achieve first go round, whatever comes next is sure to be colossal.

P.S. That album artwork.

My Beautiful Dark Twisted Fantasy. Really? What have the eager beaver music journalists of the world left me to write on this?

At best, I can only provide a personal perspective. I’ve been a Kanye West ‘enthusiast’ (said lightly) from approximately the moment my adolescent tips flicked the inlay of former Roc-A-Fella bully Beanie Siegel’s first LP and read the production credits for ‘The Truth’. Me & ‘Ye, we go back. To those that discovered Mr. West at the College Dropout turning point… I’d already been that down-ass kid in school with a CD-R of rumoured demos from his debut ripped off Winmx (or whatever illegal file-haring software was popular at the time) walking around the playground with a 35 second snippet of ‘Jesus Walks’ thrusting my Sony ear-bud into the side of people’s temples, “Here, listen to this, it’s effing amazing, you’ll all be hearing about this guy soon.” Fast forward 7-8 years. Well, fuck me sunshine- how did we get here?

I feel like I’ve grown up with Mr. West and MBDTF is like receiving an inexplicably ostentatious graduation present. It’s years of struggle, years of demons, years of self-flagellation and years of purpose wrapped up in a diamond encrusted bow- that’s what I hear when I listen to this album. I’d pretty much accepted Drake’s Thank Me Later as the modern 23 year old’s scoring in my last review, so right now I’m calling MBDTF the 33 year old’s equivalent. Except when it does boil down to the commodification of fraught self-awareness- Kanye is king. In this present I can’t think of anyone who is making explicit vulnerability anywhere near as here as shameless, entertaining and worth celebrating as much as this.

Not only does the album manage to successfully marry the various sonic stylings of his back catalogue into one of the darkest, most theatrical, ‘Prog’ long players in Hip-Hop history but it also makes a strong case that Kanye may just be one of the great Rap songwriters of his time. He’s always been a two-bar smart-arse, but on this he raps very much like his place in history depends on it (‘Gorgeous’ and ‘Power’, that is all). Sex, death, religion, power, politics, fame, mythology and fairytale mysticism- few pages in this burning book are left unturned.

The question that people have asked however- is this the best album of his career? I dickrode Late Registration in college and it’ll be difficult to supplant my nostalgic affection for that. So maybe the real question instead is, is it his most culturally significant album? In our opinion, yes. And as someone who’s followed Mr. West’s career closely throughout the last decade, I can only echo what Speeakz and I say when we have our hours-on-end discussions- who else in mainstream Hip-Hop is doing it like this?

#thankyouyeezy

Brave, progressive, brilliant – just a few adjectives that come to mind whenever thinking of or discussing Bilal’s triumphant return to music. Airtight’s Revenge is without question one of the most important albums of 2010 – it undoubtedly marks an imperative step forward for Soul music.

Unlike anything my prior expectations had fooled me into believing I wanted from Bilal, Airtight’s Revenge was exactly the sound odyssey I needed. A sizeable departure from his stunning and now classic debut 1^st Born Second, Bilal returned with something altogether other worldly.

The albums opening track ‘Cake & Eat It Too’ is the perfect introduction to this musical experience. Clashing symbols, droning piano, funk guitars, and of course, Bilal’s melodic vocals wrapped around poignant and penetrative lyrics. Within the first 30 seconds of hearing the song you are forced to recognise that this artist is one who has decided to evolve, instead of remaining stagnant and/or complacent.

‘All Matter’ soon follows and is, in my opinion, of a higher power than anything I have heard this year. This is Bilal at his best, his most creative and at his most conceptual. The production on display is layered, erratic, busy but paradoxically warm and never distracting. It plays the perfect companion to the songs most important gift – the words. “One great big small thing / like humming in the spring breeze / a speck of dust in this vast universe / just like a raindrop / in the sea of consciousness / it’s all matter”. The very idea of this song is sublime; the fact that Bilal is able to capture and execute it so eloquently in 5 minutes and 21 seconds is a feat I linger in awe of.

The album continues strong, failing to stray from excellence. Songs like ‘Levels’, with it’s FlyLo inspired production and experimental Jazz connotations engage even the most demanding of critics. The politically charged ‘Robots’ (which received stunning visuals courtesy of Mikael Columbo) flexes Bilal’s futurist visions both in terms of production and hook. Airtight’s most tender moment is unquestionably ‘Little One’, a Stevie Wonder-esque song written for and dedicated to his sons, one of whom suffers from Sickle Cell and the other from Autism (“I won’t always be there to hold your hand / I can help you walk but can’t make you stand / so whenever you feel you can’t go on / just believe you can / and you will”). The song is made even more special having just been nominated for Best Urban/Alternative Performance for the 53rd Annual Grammy Awards. ‘Move On’, ‘Think It Over’ & ‘Flying’ are also songs that need acknowledgement – each offer something significant, something very real and refreshing.

With production from 88-Keys, Shafiq Husayn and Nottz among others Airtight’s Revenge is as musically diverse as it is experimental. And while the complex musicology within this masterpiece is stunning by all measure, it is Bilal’s ability to write complete, well-structured songs (with a message),  with exceptional hooks that really makes this album so extraordinary.

A progressive magnum opus. Airtight’s Revenge is by all means Bilal’s best work to date.

P.s I also have to applaud Plug Research for being brave enough to allow their artist(s) the creative freedom to create such a forward thinking piece of work. Bravo.

Uh oh. Wtf is he doing? Is he really going to tarnish the ‘blog cool’ by putting Drake’s ‘undercooked’ debut into their trendy top 5 long-players of the year?! *Sarcasm*

It’s easy to write this one off isn’t it? After all, the blog world is so accustomed to building artists up in fervent equal measure to breaking artists down and hyena-gang-banging artists over (not so much the bloggers themselves even, more so the blog demographic’s fickle, digi-dwelling, groupie men). Blogdom yearned for a poster boy saviour to come to her bosom’s aide after all it’s prior freshmen had turned to fallen cherubs (how many reached platinum or more significantly dropped a classic?). Then the milk dried, high levels of unwarranted backlash commenced and hey suddenly Drake was over-rated before he’d even had the chance to drop the compact disc that could re-assert us grown-young-men in the way ‘So Far Gone’ had captivated a generation of manchilds in early ’09. The irony here is that as a consequence of being the most hyped, over-exposed, over-discussed Rap long player, ‘Thank Me Later’ ended up a wee bit overlooked and undermined…

In recent years this younger class of noveau riche rappers (a wealth only in blog following and maybe a middle class parent or two) suddenly came a dime a dozen, less prepossessed with ‘G shit’ and more attuned to rapping about, frankly, ‘normal shit’; the kind of common-man confessional style Kanye, Lupe and Phonte (Little Brother) can definitely be held accountable for in the last decade. We’ve had Kid Cudi, Wale, Charles Hamilton, Asher Roth, Mickey Factz, Blu, J. Cole (latter two yet to release an LP I admit) and a bevy of other cats alongside Drake, but in my opinion it’s Drizzy who’s been the most definitive of the litter and ‘Thank Me Later’ is the first solid studio album of HIS particular generation.

So across these fourteen tracks we’re not given necessarily the greatest emcee (or singer) of all time- if you believed this beforehand you were misled about the real appeal- Drake is intelligent, articulate, peddling hummable hooks and copious wordplay/witticisms demanding quotability and most of the time even in his gradually Patron-soaked delusions of increased celebrity profile, utterly reflective. You only have to turn to track 3, personal favourite ‘The Resistance’, to hear the guy admit: “Plus this woman that I mess with unprotected/ Text us, saying she wish she woulda’ kept it/ The one that I’m laying next to just looked over and read it/ Man I couldn’t tell you where my head is, I’m holding on by a thread…’ Strong words. At this point I had to turn to friends and ask, Drake isn’t guilty in a way we haven’t all been before as reckless post-teens but he’s openly guilty on a contemporary rap record for our age-range in 2010 right? A representation of borderline quarter-life crisis’ no more cemented than on one of the years power-up anthems, ‘Over’, where he simply asked the all-encompassing, rhetorical, ‘ What am I doin’?’

Yet thematically the album mood swings and no matter how low the lows or how long the longing (‘Fireworks’, ‘Karaoke’), the cock-sure arrogance of ageing youth prevails and we’re treated to relatable tales of drowning ourselves in the celebration of celebration (‘Show Me A Good Time’), becoming enamored with the opposite sex (‘Fancy’, ‘Shut It Down’), puffing the chests out (‘Up All Night’) and acting like the world owes us something when we’re not too occupied with self-pitying (‘Unforgettable’, ‘Miss Me’). Not to sound shallow, but it’s covering alot of bases for some of my fellow peoples.

Now, sonically I think an audience would have had to remember the kid has alot to balance: the Wheezy F youth of today, savage internet music fans, the Pitchfork crowd, Kanye-penis-polishing-publications and the please-sign-my-titty b*tches. Shit, I’d hate to be anyone new hope for anything in the current record industry climate since there’s more new audiences in this era to please now than ever. Yet discernibly the formula displayed on ‘So Far Gone’ was strategically abridged for ‘Thank Me Later’ with concentration on large rolling 808s and sustained, sullen synths (okay, yes, it could be considered post-’808s and Heartbreak’). You’d be hard pressed to suggest there isn’t a uniform sound running through-out and cohesiveness is what makes this album an intended body of work as opposed to a collection of loose tracks. For example, flicking to the Swizz Beats helmed ‘Fancy’ and at 2.45 the beat dissolves into the choral soundscape that characterises ‘the Drake sound’. Thanks to working faithfully with an in-house team like Noah ’40′ Shebib and Boi-1da, Drake has managed to craft something distinctively his unlike many of his peers who’ve lacked musical self-direction. It’s yet to be speculated weather it’ll end up pigeonholing him into an emo-Rn’B corner but for now it’s just the right side of dark, dreamy and melancholy to support Drake’s cogitating.

In summarizing, to a certain large demographic Drake represents the modern grown-young-adult, “I’m really too young to be feeling this old” plus a great deal of the conflicts, syndromes and circumstances that go with that and ‘Thank Me Later’ is a far greater realised version of the seminal plate-shifting mixtape, ‘So Far Gone’. More so, it’s the first album effort by a young chap at the ripe age of 23 which means I look forward to the ‘I’ve-got-more-control-over-my-career-now’ sophomore effort where that man is obligated to expand his sound and deliver more food for thought.

And no, I’m not saying any of this sh*t and putting Drake in our Top 5 of the year just because we’re a blog. F*** off.

Black Sands is quite simply a beautifully crafted, well-orchestrated masterpiece. Bonobo aka Simon Green has moved his style on from his earlier ‘Animal Magic’, ‘Dial M for Murder’ and ‘Days to Come’ ventures and has shown with this album, just how versatile a producer he really is.

He has always been one to use a textured approach to music and now the happy medium between laptop and live instrumentation has been perfected in full force. There is a level of richness on Black Sands you can parse over multiple listens, it’s an album that I find myself emerged in quite often.

It is hauntingly beautiful with every track pulling a new emotional string. One of the best moves on Green’s part for this album was to enlist vocalist Andreya Triana (my wife to be…) who lends her voice to 3 of the tracks on the album (‘Eyesdown’, ‘The Keeper’ and ‘Stay The Same’). Yet it is not only the vocal tracks which stand out here, the swing of ‘El Toro’, with it’s Latin influenced drum patters and sweeping violins, to the oriental musings of ‘Kiara’ captured so beautifully by epic sounding strings and cup up beats and of course, the LP’s title track ‘Black Sands’, which builds steadily from guitar to melancholic clarinet and horn section into full band; Creating an album that is musically bursting from start to finish.

Without doubt, Bonobo’s Black Sands is my (Danny Wood) album of the year, it will be as relevant and refreshing in years to come as it is right now.