Further. : Quarterly Report Q1 2019 & Playlist

Further. launched in January 2019. Its objective was to create a place where I could review things that caught my attention but which didn’t ‘fit’ Documentary Evidence, or where I didn’t get to cover that particular release for Electronic Sound.

During the first quarter of the year I reviewed 15 albums or singles, published one interview, and included a guest review written by Erasure’s Vince Clarke. It was a modest start to the blog, a testing of the water if you will. I will try harder during the second quarter.

Below is the full list of content published during the first quarter. There’s also an accompanying Spotify playlist including tracks from each record (where available on that platform), along with ‘Gallery’ by Californian electronic pop artist Dresage which completely passed me by at the time.

Reviews

Kaada – ZombieLars (Soundtrack) (Mirakel Recordings)
Kamaal Williams – New Heights / Snitches Brew (Black Focus Records)
The Silver Field – Rooms (O Genesis)
TOTM – Bliss / Blurred (Flickering Lights)
Karolina Rose – Invicta (Violet Sunset Records)
Neu Gestalt – Controlled Substances (Alex Tronic Records)
Lucy Mason – Flashback Romance (self-released)
Hugh Marsh – Violinvocations (Western Vinyl)
Bayonne – Drastic Measures (City Slang)
Modular Project – 1981 (hfn music)
Evelyn Glennie/ Roly Porter – One Day Band 17 (Trestle Records)
Maja S. K. Ratkje – Sult (Rune Grammofon)
d’Voxx- Télégraphe (DiN) – reviewed by Vince Clarke
Kilchhofer / Anklin – Moto Perpetuo (Marionette)
Jonteknik – Electricity (The People’s Electric)

Interview
The Silver Field

Playlist
Spotify

Words: Mat Smith

(c) 2019 Further.

Kamaal Williams – New Heights / Snitches Brew

Last years’s debut Kamaal Williams album, The Return, showcased the jazz wizardry of keyboardist Henry Wu, recently of dissolved group Yussef Kamaal. That LP operated on the funkiest fringes of the new jazz renaissance, and this new 12-inch takes that approach two steps further.

The A-side cut ‘New Heights (Visions Of Aisha Malik)’, co-produced by Darkhouse Family, is a serene, laidback deep cut dominated by wandering piano clusters and a robust rhythm section, through which unexpected sounds are threaded – little percussion gestures, meditative synth strings – but never in a way that takes a focus away from the core trio sound. It at once sounds faithful to classic jazz but in a manner that nods firmly in the direction of hip-hop.

On the flip, the cheekily-named ‘Snitches Brew’ with guitarist Mansur Brown is a dexterous headlong rush into a psychedelic wilderness, echoing the Miles Davis experiments that yielded the track its title. ‘Snitches Brew’ is dominated by an unfaltering electronic bassline and restless, shuffling drum pattern from Dexter Hercules over which Brown’s liquefied guitar patterns wheel freely. As a counterpoint to the relative calm of ‘New Heights’, it couldn’t be more different – but that’s what makes Wu’s Kamaal Williams so refreshing.

New Heights / Snitches Brew is released today by Black Focus Records

Words: Mat Smith
(c) 2019 Further.