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We’ve already looked into the UK Bass scene with Joker’s The Vision, and this album is from a similar era and spans many different UK genres, probably more so than that one. Lots of straight up bass music, some house, grime vibes, hip=hop elements, and just a very diverse and interesting sound. I picked Side D, and in that listen I liked the dance vibe on the final track, Distant Star, and especially loved the wobble bass breakdown at the end to put a bow on the album.
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I remember quite vividly when this album came out. I was a really big fan of Labor Days, more than Bazooka Tooth, and all signs pointed to an incredible release. We weren’t left disappointed, and the album as aged well in the last 15 years or so. It’s title track, on Side A, was my favorite this listen around and I’d almost forgotten that Aes had partnered with old friend and collaborator Blockhead for the jaunty, bouncy, catchy beat. It’s a partnership that worked so well on Labor Days that it feels really good here, and on a few other Blockhead tracks including Bring Back Pluto.
And then there’s the super neat video…and the Polyphonic piece on it…
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As a Jazz record goes, this one is unusual for a few reasons. First, it’s a piano and bass. Second, it’s a woman on the keys. Third, this woman was white and British. Fourth, my copy has misprinted labels. Didn’t know that until I looked closer. Fifth, she was one of the most respected Jazz musicians ever and hosted the radio show Piano Jazz from 1979 for 25 years which played a very important role in my weekly listening for many years. She could invite any musician, who could play any instrument or sing any style, and vibe with them. It was simply amazing to listen to her show and hear the stories of her life.
That misprinted label didn’t foil my desire to listen to Side A, as it has four tracks versus Side B’s five, and on this listen I really and thoroughly enjoyed Twilight World, a track of Marian’s own. I’ve embedded the full album, as it’s the only way to share this track played solely with Linc Milliman.
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This is one of those rare albums that just put you in a vibe from the start and don’t relent. I had my eyes closed the entire time I listened to it and I didn’t want to open them. Side A is non-stop flow and it was really, really hard to pick a track this listen. I’ve seen Shigeto perform many of these tracks live at Kilby Court in SLC. That’s almost literally a large shed, and when he toured this album it was with a drum set, which was amazing in the context. Later, when I saw that he did the same on KEXP I just kept watching it over and over. It’s why I’m including two videos again on this release, with Ringleader being an incredible example of how the track changes.
Detroit Part 1 just had to be my track pick. It’s so dense, wide, atmospheric, and expressive. I’m so glad that later, when Detroit Part II came out on his label Portage Garage Sounds, I was able to nab a copy. What a pair of tracks these are.
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