The Spins

As a starting aside, I'm going to recommend a couple of albums that are neither new nor new to me to start with. I've spent most of the past week thinking about Saâda Bonaire, a project that results when you put two German models, a DJ/producer, a reggae band, and Turkish musicians together in King Klang (Kraftwerk's studio) in Cologne. Does that sense make sense? No, not really, but it's true. Anyway, this setup resulted in some truly excellent dance music. However, it was lost for years because the label, EMI, wouldn't put any money behind promoting it, even though their first single, “You Can Be More As You Are,” did get traction.

After being on the shelf for three decades—and thought to be completely lost—Saâda Bonaire's music came back into public knowledge through a 2013 re-release by Captured Tracks. The self-titled compilation is both a time capsule and just awesome on its own. It is far more than just a curio of a time when cocaine ruled all.

The other album is The Fabulous Sounds of the Pacific Northwest by the Young Fresh Fellows. This is a quick album of smart power pop music from Seattle in the 1980s. The boys don't take themselves too seriously, but their music is catchy and well written. If things are going weird for you, pop this on and have a little bit of fun.

Now to the actual new albums.

Whatever The Weather, Whatever The Weather II

Recording under her alias, Loraine James crafts a thoughtful ambient album that mixes the glitchy laptop techno of labels like 12k, field recordings, and her regular mix of dance floor styles. It's an inspired album, one that has a clear sense of purpose and direction. James is clearly establishing herself as one of the vital electronic producers of our current era, able to bridge the space between headphones and the dance floor.

RIYL: Taylor Deupree, Global Communication, Loraine James as Loraine James, The Orb

Chihei Hatakeyama, Lucid Dreams

This album does its title: it puts you in that liminal space between waking and sleeping. The album captures the peace of the moment and the ensuing drift. It was a soothing balm of an album, one that centers and relaxes your mind. It is a pitch-perfect ambient album.

RIYL: Music for Airports, dreams, meditating, relaxation

Joona Toivanen Trio, Gravity

Take three jazz men who have played together for over 25 years and put them in a room with a variety of instruments and no real plan. Instead of chaos, the trio composed an intriguing album that is both rooted in the jazz world and also floats about three galaxies away from it. The instruments are heavily processed at times. At others, toys and synths enter into the mix, creating novel collisions of sound. At others still, a more standard jazz rhythm breaks out. A truly wild listen as you never really know what is going to happen next, but everything that does happen makes sense; it’s not haphazard, as one might fear.

RIYL: Supersilent, Ambrose Akinmusire, experimental music, free jazz

Muriel Grossman, MGQ Live im King Georg, Köln

A live recording of spiritual jazz saxophonist Muriel Grossman playing with her quartet (saxophone, drums, guitar, Hammond organ) and they all are absolutely dialed in. The set starts with “Clarity,” a 12-minute workout that is a rhythmic delight. As the album goes on, the quintet plays with a focus and desire that recalls the obvious spiritual jazz predecessors while also integrating global sounds into the mix naturally. In all, it is a remarkable set that you should spend some time getting into.

RIYL: John Coltrane, Fela Kuti, finding the zone, soul jazz

Vijay Iyer & Wadada Leo Smith, Defiant Life

A recording between two powerful jazz musicians, pianist Vijay Iyer and trumpeter Wadada Leo Smith. The interplay between the two is impeccable, with Smith’s horn meshing with Iyer’s acoustic piano and Fender Rhodes. The music can be dark at times, but there is always a sense of hope contained within; Iyer and Smith always believe in people and their resilience. A transfixing listening.

RIYL: Meditative music, deep listening, jazz duos

I feel like at times these are windows into my personal mood. That’s fine. That’s what all criticism is on some level isn’t it? A vision into a person’s peccadilloes? Anyway, that is all from here. I will see you at the end of the week to talk about indie pop in the Antipodes.