Michael Kiwanuka – Final Days (Bonobo Remix)

Two of my favourite artists, and a track / album with things brimming to be remixed. I always though Kiwanuka’s music would work well as a remix – certainly for his looser, slower tracks – and this hits that head on. It’s not a big revision, but it just does it in a simple, beautiful way.

Thoughts?

JULY: What’s Your Pleasure – Jessie Ware

Let’s just get one thing out of the way. Disco is one of the finest forms of pop music. I don’t even want to hear an argument otherwise. But it gets a bad rap. The old ‘disco sucks’ chant still rings in the ears after all these years.

(Cue excuse to repost my own recent disco mix that begins with the ‘disco sucks’ chant https://soundcloud.com/mondopop/disco-demolition)

It’s light. It lacks depth. It’s silly. It’s throwaway. It’s too female, it’s too gay. It’s not the ‘real’ music of boys with guitars (thanks Men on the Internet for your views).

Obviously, this is a view of such reductive idiocy, it’s barely worth debating. if you can’t find the genius in a Roisin Murphy or a Robyn album, then maybe you don’t even like music. If you aren’t moved by ‘I Feel Love’, then maybe you don’t even have a pulse.

Actually, that’s what I like most in a disco track: emotion. Not just to want to dance, but to feel *moved*. And boy, is there plenty of that on this latest offering from our Jessie. Spoiler alert: I ABSOLUTELY FUCKING LOVE THIS ALBUM.

I loved Jessie Ware’s first album, Devotion, which cut a classy nu-soul vibe that felt like a Sade throwback. But I lost my way with her a little, and found her second and third a bit lacklustre, and treading the same path.

I chose this album without hearing it for the AOTM on the back of some really stellar reviews, and from Gay Twitter (or at least, Gay Twitter that I follow anyway…) losing their shit on how good it is.

They weren’t wrong. This is a major reboot which finds Jessie W rejuvenated and raring to go. Working with former Simian Mobile Disco stalwart James Ford, they mine the musical past in search of nuggets, and they nearly always come up with gold.

The most obvious influence is Italo-Disco and House of the 80s (and I LOVE that shit). The title track could be a lost classic. But it’s enormous fun hearing all the influences that went into the melting pot of this record. Opener Spotlight is a smooth opener that could easily be late Kylie. Ooh La La is total Nile Rodgers-era Duran Duran. Soul Control and Read My Lips are 80s soul-disco in a Gwen Guthrie ‘Ain’t Nothin’ Goin’ On But The Rent’ style.

And then the other obvious shadow on this album. No, not Roisin, it’s not as left field as that: I’m talking about Robyn. And I’m thinking specifically about her last album, Honey (a former AOTM wasn’t it?). Check out Save A Kiss – it could easily sit on that record:

The big questions is – do all these influences turn into something new? Does it feel as fresh and as contemporary as Robyn manages to sound? Honestly – well maybe not quite. It’s certainly lyrically pretty obvious and at times quite trite, which fits the vibe but doesn’t offer that emotional connection that Robyn so often does in her work.

But it doesn’t feel like a throwback record either. I was thinking of Daft Punk’s behemoth, Random Access Memory. Having deconstructed disco and funk in their early work, that album felt more like a more simple homage. I know it divided critics but I LOVE it. This album reminds me of that a little, in that it feels like a love letter to that music, while being very much its own universe.

Of course, the real test will be – will I stick this on at a party? And will I still be listening to it in a year? I don’t know yet, but I’d take a guess that I will be.

What’s Your Pleasure? Mine’s certainly this album.

JUNE: RTJ4

Cometh the hour, cometh the album.
Sometimes a record captures a moment in time so perfectly, it becomes a symbol of that moment. I honestly believe that RTJ4 might be one of those records.

I don’t want to be a big review like we normally do, I’d rather we used this as a kicking off point for discussion – this is a ‘free album’ month after all, and we’ll get back to the proper AOTM for July.

But…I was thinking a lot about what Brother Nolan said on our live chat the other week, that he thought it was one of RTJ’s weaker releases. I don’t know about that. I know that I’ve listened to this RTJ’s album more than any other that has come out. BY MILES. Now, maybe it’s the times we’re living in, maybe it feels like even more of a reflection. But this is a lean, mean beast. Clocking in at 39 mins and 11 tracks, it’s the length of an album from the 1960s, not a hip hop album in 2020, which, let’s face it, is ALWAYS ALWAYS ALWAYS TOO FUCKING LONG.

That brevity seems to give the Killer Mike and El-P a laser focus, and honestly, I don’t think there’s a wasted moment on this record. No, not every track is out there political. Yes, the conceit of them as two outlaws on the run (referenced on the opening and closing tracks) is a little obvious and they don’t go anywhere with it. Yes, Ooh La La is a total throwback tune (but come on, WHAT a tune).

But seriously, there are four or five cuts on here that are essential to anyone at any time. Guests are used really well – like, they bring something to the table every time. Pharell’s collab (along with a great cameo from Rage Against the Machine’s Zack de la Rocha) on JUST is as good a thing as he’s done in a long time – what a fucking smart track that is, expressing something complex and angry at the same time, . And a banger too. PULLING THE PIN is straight out astonishing, the addition of Mavis Staples voice adding so much pain and anguish to the track. And the Gangsta Boo tune WALKING IN THE SNOW is, to my mind, as good a track as they have ever made. It’s so angry and articulate and it smacked me sideways when I first heard it.

Basically, I love it. I can’t stop listening to it. It’s gonna be one of my albums of the year. Over to you, brothers…