Chilax and kick back to listen to the calm before the storm that is Amp Fiddler. This twelve track composition takes you on a cruise down the river of soul, encirculating you with the sweet air of emotion.

Afro Strut is the much anticipated follow up album to Waltz Of A Ghetto Fly and boy, was the wait worth it. This Detroit born beauty has progressed his tales of woe and transgressed his lyrics away from that of a more generic story reflecting his upbringing on the Seven Mile. His maturity shines through in this succulent offering. His smooth style accomplishes an air of ease, with its simple lyrics and funked down melodies. It is undoubtedly the soundtrack for a Sunday afternoon wind-down.

If you only have time to hear one track make it ‘If I Don’t’ – a playful single featuring the stunning Miss Corrine Bailey Rae. The video is somewhat of a twilight zone, caught between a world of Monsters Inc and an advert for Crunchie, wrapped up in a fishy tale. The track itself could only ever be likened to ‘I Wanna Be Like You’ from The Jungle Book, with a voice reminiscent of Louis Prima (the voice behind King Louis). This really is a song bird amongst crows.

Far from a patch work quilt, Mr Fiddler maintains a steady course with his style, with the exception of ‘I Need You’ – a number that really sticks out like a sore thumb being the only song with a Rasta feel but it is nonetheless refreshing.

Afro Strut is the kind of album that makes you smile like a Cheshire cat when it graces your playlist – it paints a dopey grin on your face, leaving you helpless as you watch your feet begin to shuffle around the room, unable to stop yourself nodding your head like a Churchill dog.

Verdict: 4.5/5

Never a fan of intros, it is a rare occasion where I will appraise any attempt at these inter-track fillers. And here is no exception. However, after what I can only describe as another ‘lame’ intro, YahZarah has managed to accomplish a somewhat surprisingly mature sound for a debut album.

Like a chilled glass of water on a hot day this sound is refreshing. It is certainly a world apart from so many of the neatly vacuum packed ‘artists’ out there. YahZarah accomplishes breathtaking power in a lazy day manner – she doesn’t break a sweat. And this innate polar ability is a constant on Blackstar.

‘Cry’ represents that inner fight that is within us all – that tug of war between feeling utterly helpless yet still managing to find that inner determination that drives you on to turn things around for the better. It has to be the most beautiful track that this lyricist has to offer.

With an immense voice that seemingly reaches impossible heights, YahZarah manages to conquer these notes with an effortless laid back style that would fool even the most tone deaf into thinking they too could do the same. Not that I am bitter, albeit that I have the lung capacity of a fog horn and the singing talent of a toad.

It is hard to say what has inspired this album but undoubtedly this DC girl was influenced by her extensive travels whilst working as a back-up vocalist for Erykah Badu, before she broke off and successfully pursued a solo career.

In parts, there is a scent reminiscent of TLC, which does detract a little from the overall uniqueness. However, as first attempts go, Blackstar is a far cry off shoddy and I eagerly anticipate the next chapter of this soulful story.

Verdict: 4/5

One word – Outstanding.

Closer Than Veins, the much anticipated third album of this Danish trio, is a seamless collaboration of soulful enthused Hip Hop entangled with a Hispanic twist and the result is a storyboard, beautifully laid out before you, each track drawing its own distinct picture.

Unlike their previous two albums, this one was not solely penned by the band alone and welcomes contributions from the likes of Gihad Ali and Omar Shah.

‘Introspective’ sets the tone for the whole album – a soldiers march. This is clearly an album that sets out to represent those who do not have a voice. Outlandish aim to send a message and luckily for them their message is heard loud ‘n’ clear thanks to their cultural blend, blunting the hard edges of Hip Hop and continuing to carve out their own unique mix of multi-ethnical sounds and original lyrics.

‘Look Into My Eyes’, based on a poem by Gihad Ali, concerns the Palestine-Israeli divide and carries with it a painful reminder – America do you realise/that the taxes that you pay/feed the forces that traumatise/my every living day.

The high point of the album is undoubtedly ‘You’ve Seen’ feat. Sami Yusuf (a well-known and sought after British Muslim artist established on the home circuit) – his Bollywood and Arabic sounding vocals tells to us a mouth watering tale of longing and stands proud of both the English and Hispanic rap also included in the track.

Another gem comes in the form of ‘Beyond Words’, a collaboration with Burhan G encapsulated in a theatrical circus-like melodic tune.

This is a melting pot of pure talent which burns through the tasteless Hip Hop which we all too painfully have to swallow. It spins it stories of tragedy in with words of hope and is a thought provoking product which cracks open the concrete barriers of ignorance.

Verdict: 5/5

After his twice MOBO nominated debut album, Set the Tone released in 2004, Nate James had a lot to live up to with his follow up album Kingdom Falls. However, the man of soulful funk ‘n’ rock has met that challenge and squarely kicked it up the ass. James’ cream of raspy tones pour over us, continuing to demonstrate the diversity of his vocal abilities. This man is genius.

With the exception of a rather stagnant ‘Thinkin ‘Bout You’ (we are all entitled to an off day I guess), Nate James draws us into disbelief as he surprises us with funky melodies, quirky beats and lullaby lyrics a second time around.

This second album offers us an undeniably irresistible variety with what can only be described as a hint of Mary J Blige in ‘Choke’, JT’s synthesising ways in ‘High Times’ (an irresistible body-moving track) and a Prince-type feel in the soulfully sexy ‘S M F’ with enticing lyrics that allow you to fall into a land of fantasy.

The album entitled track ‘Kingdom Falls’ presents us with a darker, eerie and futuristic presence but the absolute highlight of this album has to be ‘Wonderland’; it brings us back to a hip hop jiving smokey Manhattan jazz bar – just stay strong and positive are lyrics that perfectly encapsulate the feeling of this track.

It is more than luck that afford this album the merit it deserves but Nate James can now breathe a sigh of relief as a lot was on the line for this young man this time round. After the renowned success of his first album, he decided to pour all the profits into setting up his own record label FROFUNK under which this sophomore album has been released. There can only be more good things to come.

Verdict: 4/5

When I review an album I listen to them endlessly for a couple of days – first impressions, afterall, can be made in haste and can all too often be mistaken. However, not wanting to join Walt Disney’s sleeping beauties, I could only bring myself to listen to SOULDified for no more than a day (at a push) and as few times as possible. This album is just plain boring.

The first time I listened to SOULidified I started to question things (and I am not talking about the big ‘Why are we here’ philosophical puzzle). Was this two songs or just one very long track? Has the whole album played through already? Have I not heard this somewhere before? Unfortunately, these questions resulted in doubts and these doubts were only confirmed after playing the album for another pain-staking second time.

Now let’s make one thing clear, SOULidified is not awful. Far from infact. However, it is mundane and has the pungent stench of something that has all been done before. One track rolls into the next and you struggle to fathom where one begins and another starts as this Zambian born, London nurtured artist belts out a voice that, if I am honest, could belong to many.

The vocals samey and the music indistinct, even the lyrics lack inspiration and insight. ‘Sweet On You’ is a prime example of this lack-luster attempt at a ‘chart-breaking’ album. With lines such as Like honey to a bee / Tastes so good boy / Sweet on you, I am yawing already.

The bad bits aside, SOULidified does provide an easy listen and the perfect soundtrack to lull you off into a dull doze. All the while teetering on the fine edge of being completely predictable.

I am dumb founded as to how this artist has received any acclaim as the only thing she can really affirm is her abundant desire not to make her mark on the industry.

Verdict: 2/5

Perhaps this album would have faired better had I not listened to it immediately after I had been coerced by the funky tunes of Nate James’ Kingdom Falls and swayed by the lyrics of Outlandish’s Closer Than Veins. But then again, perhaps not.

The Healing presents us with nothing more than a bland production of what could almost past for cover versions. Needless to say, it fails to make the cut by a long shot and is a disappointing purchase indeed.

It is a shame as the album’s first track, a minute and a half interlude, lead me to believe that this album would actually accomplish more. A mix-mash of the mediocre and the intriguing, it is fair to say that it leans heavily towards the former rather than the latter.

‘You (The Only Ones)’ is too reminiscent of tracks that already have come before it; of hits that have been and are no longer. A distinct lack in originality, however, does not detract from the ability to kick back and fall into the lull of this album on a dreary afternoon. But take note, for I found all too often the album would play through leaving me with the feeling that it was just one long track – an indication of the lack of that essence that this album so desperately cries out for.

That aside, if you still feel the need to go out and purchase this mundane lyrical composition fast forward to ‘Parachutes’ and at a stretch ‘Good Times’ (though you may find that the aforementioned carries the stench of a wannabe R Kelly track).

Let us hope that this group does some hard grind in the studio next time and produce something that is a little more inspiring, for the only crowd that this album would get going is one that is already so inebriated that they would cheer along to anything, including the Agadoo.

Verdict: 2/5

The Eraser Will Smudge Yorke’s Career

Many would recognise Thom Yorke’s voice as alienated, frequently inaudible, and, at times, a murmur. This voice, whose central message is arguably still relevant (I’m middle class and anxious about it) has achieved clarity in The Eraser. Now resolutely at the forefront of his music, Yorke’s lyrics are overtly political: ‘we think the same things at the same time’ (Harrowdown Hill).

Indeed, Yorke’s overwhelming talent may justify his following. But many fans may have to detach themselves from his views (now unambiguously specified) in order to appreciate his music. (http://www.xlrecordings.com/theeraser/)

These views may seem palatable enough to most (anti-war, anti-Blair), but so does mainstream pop-music; must we listen to it? Surely Yorke’s integrity was galvanised by his unremitting disdain for the conventional? Now he self-consciously chimes with common sentiment. Should he not be anxious about that, and attempt to reject it? This writer believes he should leave simply his politics aside from his art.

Verdict: 3.5/5

Q: What comes in mind when we say ‘Greek dance’?

A: Zorba’s Dance and belly dancing?

Err, I think it’s time to know some more. Grab the chance to listen to the recently released CD ‘Diaphanous’ by Thanassis Papakonstantinou. Papakonstantinou writes the lyrics and produces an amalgam of music influenced by folk, artful, rock, jazz and electronic music. You may call it world fusion or ethnic. Categories don’t really matter. What matters is that ‘Diaphanous’ will get you off the ground to an inebriant, magical journey into the space and time in between East and West. The album includes fourteen songs with titles and some notes in English. Listen to some of the tracks online on myspace created by his fans: www.myspace.com/thanasispapakonstantinou.

Enjoy!

Verdict: 5/5

Ronnie Scott’s Jazz Club Presents the Ronnie Cuber Quartet January 17, 2007

Perhaps I’m a bit spoiled in being from the East Coast of the USA – there are a half dozen top-notch jazz clubs in Boston alone, and anyone who knows jazz knows that New York rules the night. Luckily for the jazz scene in London, and more particularly my own night, the featured performer at Ronnie’s on Wednesday was out of this world. I do mean this in all senses- the man is a complete nutter, but also one of the greatest baritone saxophonists in the world. Ronnie Cuber has played with nearly every big name in the music world (from Frank Zappa to Paul Simon to Aretha Franklin) over his 48-year career in professional music and it is immediately clear why to anyhow who hears him. Combining a Laser sharp sound with breathtaking facility on the elephant of the saxophone family, he tore the club up for about an hour and a half. In between numbers, he danced, complained about the heat in London in general and the room in particular, and made small talk with the French family sitting next to the stage. During some of the songs he ran to the microphone to shout ‘yeah!’ ‘Alright!’ and assorted phrases in Spanish. He even went so far as to rearrange the drum mics in the middle of a tune. Despite his antics, he never ceased to impress musically, delivering spot-on performances of bebop classics, Latin dance tunes, and an arrangement of the ‘Godfather’ theme for jazz quartet. Strong performances were also turned in by his side men: Kelvin Sholar (who dazzled us with a strong interpretation of ‘Alone Together’ on the piano), Boris Kozlov on the bass (whose Russian heritage Cuber seemed particularly amused to proclaim) and Mark Taylor on the drums, a native Brit and a southpaw to boot. I for one give this show two thumbs up for stellar musicianship, a wonderful scene, and great dance moves by a fat man with a saxophone.

Introducing ‘Necro Sadistic Goat Torture’…

King’s Bench: Describe your sound.

TS: Well, it’s death metal with thrash influences. Its aggressive technical music… but still melodic.

KB: Is there a big metal scene in London?

TS: Compared to other places in Europe the underground metal scene is quite big here in London. But you can never have enough, can you?

KB: How do you balance university and being the front woman in a touring band? Or is it work hard/play hard?

TS: Easy I guess, everyone has their own commitments next to uni. Sometimes the band is more important and you skip lectures, other times uni is a priority. I’m happy if I manage to sober up before the lectures.

KB: What does the future hold for NSGT?

TS: We just released our mini album ‘The Maniac’s Banque’, buy it! (haha) and are planning on touring Europe later this year. It’s all on our website www.necrosadisticgoattorture.com, visit to support the metal ALCOHOLOCAUST!