Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

CD Review: Kiwi – Mischief Reigns

You just gotta love it – a Brazilian-inflected dub reggae cd by a band named after New Zealand’s tasty green version of the blueberry. True to their name, Kiwi have made a tasty album, warm, summery and hypnotic like all the best roots reggae is. This is the group that big up-and-coming retro soul buzz band the One and Nines spun off of. The two bands share a vocalist, the irresistibly soaring Vera Sousa, a guitarist (the smartly incisive Jeff Marino), a tenor sax player (Barami Waspe) and a keyboardist. On this album Sousa shares vocal duties with Alex Tyshkov, who distinguishes himself on bass, guitars, keys, percussion and more. The rest of the laid-back horn section comprises Kasey Lockwood on trumpet and Matt Ryan on trombone, with Will Hansen on keys, David Delgado on drums and G.D. Hemmings on percussion. The bass is always way up in the mix, guaranteeing that it’ll sound fat even if you’re playing it on a lo-fi system. Like the One and Nines, a band who completely nail the ambience, arrangements and spirit of 60s Memphis soul music, Kiwi’s sound is straight out of Kingston, 1977 but with sonically improved production values.

The album opens with a tantalizing bass-driven interlude with organ, giving way to No One Else featuring Sousa doing one of her irresistible, wise, slinky vocals. Most of these songs segue into each other, often separated by little interludes, mostly brief, introspective guitar instrumentals except for a completely unexpected, rippling, gamelanesque passage toward the end. The third track, Lemon has reverb organ and fat bass with a stripped-down John Brown’s Body vibe, a feeling that returns on the sixth track, Against the Wall and later on the catchy midtempo pulse of And You.

After a tense, mostly solo guitar meditation, the fifth track reminds of Bob Marley around the time of the Kaya album, when he was blending an American R&B/soul influence into his songwriting. Track eight, Return is fat, dubwise and kind of morbid; the title cut is understatedly hypnotic – they don’t waste a note – and Sousa’s wary voice on harmonies in the background is arrestingly exquisite. She also gets to slide and shine, in both English and Portuguese, on Aprendiz, a duet with Tyshkov. The album winds up with its most psychedelic track, Cherry Tree, and then a cut that has the feel of being a catchy One and Nines groove rearranged as reggae. This is one of those rare albums that doesn’t have a single lame track, not even those little interludes. Watch this space for NYC area shows.

June 9, 2010 Posted by | Music, music, concert, reggae music, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment