Her second EP of originals is a set of disco, house, and techno that’s hard to place except for a unifying sense of sun-drenched euphoria. –Matthew Ruizīutter Sessions Jennifer Loveless: Around the World EPĪround the World is a cheeky title for a dance record, but surely Toronto-born, Melbourne-rooted, and London-based producer Jennifer Loveless has a claim to it if anyone does. Standout track “Pyramids” is ample evidence: a pulsing bassline is overtaken by the forceful gales flowing through Hutchings’ reed, sounding the alarm on impending doom in just enough time for something to be done about it.
The album is technically instrumental, but Hutching’s saxophone is inarguably the group’s voice, in both rhythm and melody. Their latest LP, Hyper-Dimensional Expansion Beam, is both a propulsive exploration of humanity’s limits and a forward-facing attempt to obliterate them. Much of Shabaka Hutchings’ work can be viewed through an apocalyptic lens, as if it were posing the question, What should be done if the end of the world is inevitable? The Comet Is Coming, Hutchings’ cosmic jazz trio with his music-school buddies Dan Leavers and Maxwell Hallett, is arguably the most optimistic of his projects.
Listen/Buy: Amazon | Apple Music | Bandcamp | Spotify | Tidal The Comet Is Coming: Hyper-Dimensional Expansion Beam Part of a close-knit group of restless creatives that includes Mica Levi and Tirzah, he’s previously recorded stern bass music and ruminative piano instrumentals on Conduit, he brings his voice to the fore, spotlighting somber, intricately rhymed meditations on his Lewisham heritage and the ills of post-Brexit Britain his production, meanwhile, flickers between dream-pop boom-bap, industrial-grade noise, and densely collaged epics that are part free-improv jam, part volcano. Coby Sey’s debut album has picked up labels like “trip-hop” and “post-grime,” but those terms fail to do justice to the singularity of the South London producer’s music.
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