And This... #1: Leonard Charles

AND THIS... 
#1
Leonard Charles

And This... is a new thang where I'm going to highlight a tune, or an artist, or a label, or something or rather, that has caught my ear during the week. The idea is to update weekly. We'll see how we go with that. The intention's good, anyway.

First up, Leonard Charles, a side project of the multi-limbed Jeremy Toy. Created as an outlet for music made while healing from a cowardly king-hit outside an Auckland bar where he'd just finished performing, Leonard Charles' trip is all loose-limbed, funky-ass, head-nodding goodness, which you absolutely need to wrap your head around. Below is his version of 'The Look Of Love', and it's a stone cold classic.

I've always taken a keen interest in Jeremy's music; be it on his own as Ota, with the Opensouls band and with She's So Rad, or his forays into production, dude is one talented guy. It sucks hard when anyone is involved in an unprovoked assault, but it always seems to sting more when it happens to a real good fella.

Check out Leonard Charles on soundcloud here, or bandcamp here. Also take the time to visit She's So Rad's bandcamp page and website; and From The Crate Records' soundcloud page.

Spotlight: Some Other Planets

OMG, as the kids say. (Do they still say that?!) Some Other Planets is the name for a collaboration of some of my favourite leftfield NZ producers and musicians; namely Riki Gooch (Eru Dangerspiel, Trinity Roots), Julien Dyne (Opensouls), Parks (Ladi6) and (the "grumpy" one, tbh) Christoph El Truento (@Peace).

Seriously? Seriously.

While I've not yet uncovered any original material from this little corker of a collective, they have let slip a mix that you can listen to (below), and download (right here), should you so desire.

WARNING: for a group comprising beatmakers, drummers and percussionists, this mix is surprisingly beatless. Open your ears, wide...

Could be worth checking their live debut out at Golden Dawn, Thu 21st Feb too. More info on that here...

Spotlight: Opensouls 'Rise Up' (Lewis McCallum remix)

I've always had a lot of love for Lewis McCallum, and also for the Opensouls - and many of the projects the various members of that band have gone on to as well - so it gives me great pleasure to be able to extend further love (as it were) to both parties in one fell swoop.

Check out this link for a free download of Lewis' remix of the Opensouls track Rise Up, originally from their debut album Kaleidoscope. Indeed, Lewis was heavily involved in the recording of the album version. You can also listen to the remix in the player below... and while you're here, why not take a moment to listen to Fly Or Die, one of the most enduring tracks from Lewis' debut solo album Wake.

Review: Julien Dyne 'Glimpse'

JULIEN DYNE
Glimpse
[BBE/Wonderful Noise]

Dilla sure has a lot to answer for. I'm not (necessarily!) saying Dilla was not (one of!) the G.O.A.T., but I am saying he has spawned a helluva lot of imitators and copycats. Most innovators do, right? Sure, but the problem with his signature beat-heavy, vibe-laden, head-nod style is that you need to have an ear for clever arrangement of the elements in order to keep the listener engaged. Dilla did it brilliantly. Others? Not so much. Julien Dyne? Most of the time, yes, and sometimes with aplomb. Glimpse is Dyne's second full-length solo album, and while it's certainly an exciting progression from his debut, Pins & Digits, it is a continuation of the same feel. It it ain't broke, I guess. Don't get me wrong, he does this style better than most and there are some killer cuts here, like the standout Borritoe, with its rich, shimmering layers recalling Tortoise at their most gorgeous. Others like Koln3 benefit from a straight-ahead groove and monster bass line, while Inner Duplex 2 slides eerily by like some kind of futuristic funeral march for abandoned Atari consoles. Almost midway through Ernst (Rutherford 121) offers a welcome tempo change, but is followed by Rago, Creebin' and Looseends, all of which - as likeable as they most definitely are - provide strong evidence Glimpse works better as a collection of beats than as an album. Having said that, guest spots from vocalists Ladi6 and Parks, Mara TK (Electric Wire Hustle), She's So Rad aka longtime Dyne collaborator Jeremy Toy (Opensouls) and Claire Duncan (Dear Times Waste) add a unique colour. Though there are nineteen tracks in total, the longest doesn't breach the four minute mark and the whole thing's over within fifty minutes, but - and you knew there was a but coming, didn't you? - I'm still left wanting more Dyne, and less Dilla, 'cos there's plenty of Dilla. Which means die-hard beat-heads will probably dig the shit out of it.

3 and 1/2 stars from 5

Check a peek of the album here or on the BBE website.

Review: She's So Rad 'In Circles'

SHE'S SO RAD
In Circles
[Round Trip Mars]

Musical Chameleon. That sums up Jeremy Toy beautifully. The Opensouls' guitarist/songwriter has had his hands in many musical pies over the years - producing Hollie Smith's debut album, playing with local punks Sommerset and crafting wonky hip hop in his solo guise, Ota. For She's So Rad he has linked with Sami Sister Anji to add yet another style to his arsenal: shoegaze. Hazy indie rock informs much of their debut album In Circles, with beautifully bruised pop songs layered heavily with dreamy guitars, washed out vocals and dense, swirling atmospherics. Reference points include Ride, The Charlatans and Toro Y Moi, but mostly you'll hear a modern take on the Dunedin Sound, particularly the excellent Jean-Paul Sartre Experience. Guests include Julien Dyne, James Duncan and Nick Gaffaney, but In Circles mostly serves to illustrate that Jeremy Toy is fast growing into one of this country's true musical treasures. Very impressive indeed.

4 stars from 5

Live Review: TrinityRoots at Powerstation Fri 2 Sept

This week sees the launch of a brand new weekly street press title: Volume is edited by Sam Wicks (a scholar & a gentleman, both) and features interviews, reviews and plenty of opinion about music - good and bad. But mostly good. As evidenced by Issue #1 cover stars, Drab Doo-Riffs.

I've had the good fortune to be invited to write for the mag (#shamelessselfpromotion), and even managed to sneak into the debut issue with a live review of the recent TrinityRoots gig at Auckland's Powerstation...

TRINITYROOTS
With Tyra Hammond and The Bluebirds
The Powerstation, Auckland
Friday 2 September

TrinityRoots' third coming saw a refigured lineup looking to continue the legacy of one of New Zealand's best-loved bands. The diversity of the crowd underlined the esteem in which Trinity are held, with their fresh blend of deep roots reggae and psychedelic rock only part of their appeal. That undeniable bro-ish charm is undoubtedly another part; yet these are jazz school alumni with serious musical chops, unafraid of stretching songs live every which way. So shit was hype. Anticipation was high. And due to one of the founding members leaving the band only a few months ago, there was genuine excitement: who the fuck was going to replace sticks man Riki Gooch?

Opening act Tyra Hammond and The Bluebirds didn't so much heighten anticipation, as cause a certain amount of restlessness. Everyone loves each of those guys - and Tyra is a genuine star - but a handful of seemingly hurriedly put together blues covers did them no favours. Thankfully they closed with a couple of tracks taken from the Opensouls' excellent Standing In The Rain album.

Any concerns about the punters' attentions spans were dashed the instant TrinityRoots took the stage, opening with an expansive version of Two By Two. It must've been terrifying for new drummer Jean Pompey to step into this scene, but she showed no sign of nerves, as she set about pummeling her drums right from the outset. Lacking the power of Gooch, she made up for it with her dexterous and busy playing; and the group sounded as cohesive as ever, if not more so. Her warm vocals were a welcome addition, and the harmonies she, frontman Warren Maxwell and bass player Rio Hunuki Hemopo cooked up (alongside the shadowy figure of Mark Vanilau, who also added keys and guitar) stepped the sound to another level. Indeed, an unexpected highlight was Pompey singing Dawn Penn's No, No, No from behind the drums.

From a loping, lolloping ride through The Dream, a fiercely dubby version of Egos and an outstanding reading of Home, Land & Sea, it was clear to the adoring crowd that, even without one of their cornerstones, TrinityRoots are still capable of laying down music that breaks through barriers, transcends age and race, and unites those who really care to listen. Amen.

This review was originally pubished in issue #001 of Volume magazine, 6 Sept. 2011