ALBUM REVIEWMon, May 26, 2014
LATE NIGHT TALES
Pleasant mix of psychedelica, African (funk) rhythms infused with modern electronica.
Why do I love LateNightTales? Simple answer, artists are given the opportunity to play whatever they seem fit to enter our ears and brains.
Leave it up to Scotland’s own Django Django to make the new LNT a worthwhile trip and treat for those open to a broad scope of musical influences and favorites. Their 2012 self-titled album is a pleasant mix of psychedelica, African (funk) rhythms and harmony singing infused with modern electronica and (for lack of a better term) “indie” reminding me of Animal Collective and Fleet Foxes.
This journey kicks off gently with an instrumental bluesy guitar piece from Leo Kottke which sets the tone immediately. Then Super Furry Animals' side project Game Love bring back the erotica in music with Gulp - and by the time Bob James and James Last(!) enter the stage with some uber funk jazz joints, I am in all the way and very impressed with the subtle but sublime mix moments.
Maps of Africa fuzz&roll honky tonk madness keeps my attention on the game 100%, Philip Glass is always a treat in my opinion and on goes my list of superlatives. Let’s skip a few tracks (no disrespect boys) to where for some reason I keep on ranting about to all those willing to take it. It somehow feels like a marker, a small wink for what’s to come when Primal Scream slide in after the harmonious Beach Boys with Carry Me Home. And then, feel it, hold on, wait a second…the haunting voice calling from misty valleys, the rhythm stops and a fresh drum break takes the lead, Massive Attack (Man Next Door) whips up the speaker giving it the proper massage before TNGHT rips it up Trap / DubStep style with Bugg’n. And onward it goes, deep house from Roy Davies Jr., down the blues strip with Canned Heat and back to dubstep with Ramadanman.
It’s the versatility, the pure love for music and the excellent choices that make this my favorite LateNightTales thus far. It covers a wide array of styles and genres and each song respects its predecessor and follow-up. I’ll probably be put away as a whiny little bastard when I say I find the flow of tracks in the second half a tad bit less favorable than the first half, but hey, I’m throwing in a big 9 out of 10, so cut me some slack.