There's this bank me and my kids pass every day on the way to school.
The few times they've gone with me through the drive-thru, for routine
financial actions bros, they've acquired a Dum-Dum of varying flavors
bros. But the flavors of high fructose corn syrupsy balls on woven
cardboard sticks means nothing here bro, what this bank has that
pertains to Big Mean Sound Machine is a row of reflective windows.
These windows are a portal to the funky ass motherFuckin' throwback
soundtrack we be rollin' wit on the way to le schoolio brolio.
The first time I noticed the four of us all leaned back lookin' back
at us in motherFuckin' funk heaven, it was a brisk 74 degrees fahrenheit
at 6:45am bro. (That should tell you it was sum sum summertime bro.) We
were pulling up to a red light, all windows were down, the kids were
all lookin' forward, as I peeped our pimposition to my right, I blurted
out a "yoooo" and threw my head into the direction of our reflection. My
kids did something I wasn't expecting, but it sort of tied the whole
room together (as far as the funk was concerned), they looked at
themselves in reflection, nodded at their pimpflection, and returned to
their originally scheduled position of acting loc'd the Fuck out. We
were listening to "Whoa Gosh" at the time.
Big Mean Sound Machine
sound like you just caught your reflection in the mirror and you're 77%
cooler than you originally assumed you were in the first place.
Big Mean Sound Machine are the embodiment of feeling fucking delicious.
What used to feel more like a cross between Budos and/or Daptone
scented incense and a case of ice cold Tecate on a hot fucking Sunday
afternoon, is now a luxurious cross between Budos and/or Daptone
flavored micheladas and crawfish boil where there are muthafuckers in
guayaberas and ladies in yoga shorts. It's just fucking intoxicatingly
sexy bros.
Seriously, this latest in the saga of sexual ass Big Mean Sound Machine
releases is a beautiful blend of their regular horny sass, but in
addition to their ever-maturing instrumental conversations, there's a
New Orleans pelvic thrust around every meter. It's like these
muthafuckers were playing a basement in sub-saharan Los Angeles or some
shit, and a Voodoo king happened to be at the In N Out across the alley
and heard their aural deliciousness spilling out onto the street while
monster sauce dribbles onto his pert chin. Rather than reaching for a
napkin to wipe his furious face, he rattles his bones and the assholes
in Big Mean Sound Machine all start sweating from the lower back and tasting cayenne pepper with every blot of the brow.
I wouldn't lie to you bros, the latest Big Mean Sound Machine
album is a fucking balls ass motherfucking cornucopia of horn-spat
delicacies, and rather than merely being hot to the touch, it's fucking
warming to the entire loin region and requires many many concentrated
and unconcentrated listens as soon as fucking possible.
---
Do not fight, do not rob, but gradually smuggle enough salable commodity, called Afrobeat.
Every now and then you hit the projects, taking in his work threads
Africa. One of them is Big Mean Sound Machine. Fortunately, the American
group, which consists of thirteen musicians, does not like to stick to
rigid divisions. The team from the very beginning came deep in
afrobeatową styling and more. Their music is equally revolves around
jazz, psychedelia from the 60s and 70s, funk, rock, Latin music and
blues. It all appeared on the debut album BMSM - "Ourobors" (2011.). Two
years later the band released their second album Fri "Marauders",
stylistically similar to the previous production, although it was heard
that artists are constantly looking for and experimenting with different
sounds.
At this year's album - "Contraband" Americans have shown that they
are still faithful to their assumptions. Invariably, the whole spirit
hovers somewhere afrobeat Fela Kuti from the area, as well as the New
York-based Antibalas ("In the Name of What?", "Angriest Man in the
World"). It seems that the recordings Big Mean Sound Machine are more
varied in relation to what is proposed Antibals. A good example is the
renovation song "The Soothsayer". Composition "Whoa Gosh", in turn,
brings to mind the achievements of The Souljazz Orchestra. However, in
BMSM is definitely more psychedelic and synth sounds ("Junkies
Everywhere").
Undeniable force BMSM is creative ability of turning a simple topic
in an extensive and multi-layered musical tale ("Crime of Passion"). For
"Contraband" there were also paying tribute to the music of the Arab
world ("Sweet Tooth"). Characteristically sounding guitar solos, which
can be found within afrobeatowej Convention, appeared in the title
"Contraband". The number "Wolfpack" and has much in common with the work
of the group Orchestre Poly Rythmo de Cotonou, which will soon perform
at the OFF Festival.
I very much hope that the band Big Mean Sound Machine also exist in
the European market. With such a repertoire, which presents the American
collective, you can enter - and this without any complexes, each
directory of a major label (which is about a Strut?). Members of BMSM in
a very creative way to reread the afrobeat. I do not treat it as a
substitute, and as the core, giving them the power to create
niebylejakich ideas.
bigmeansoundmachine.com
---
Angelo Peters may be the hardest working man in the Ithaca music
scene right now. Between recently taking over the booking
responsibilities at The Dock (formerly Castaways), as well as booking at
the Loft, and current recording and production work, his 13 piece band,
Big Mean Sound Machine, has managed to release its eighth studio
recording, Contraband, through Angry Mom Records.
Peters and company get a little bit spacey on this one, and it works,
as extra moog and synthesizer effects that accent the expanding horn
sections fit in perfectly. Big Mean Sound Machine, who are known for
elaborate percussion and horn sections, has managed to up the ante on Contraband.
Where before the horns (Alicia Aubin -Trombone, Bobby Spellman –
Trumpet, Jamie Yamen – Tenor Saxaphone, and Remy Kunstler – Baritone
Saxaphone) were more of an accent, on this album, they are the
centerpieces that drive songs like “Whoa Gosh” and “Sweet Tooth.”
Contraband isn’t as much as departure from 2012’s Marauders as
it is a steady transition in the direction of progressive channeling.
BMSM manages to throw every past, present and future jazz, afrobeat, and
fusion great into the grinder and roll them up in one giant spliff,
just to light it up in the front row at the Newport Jazz Festival.
Tracklist
01. In the Name of What?
02. Angriest Man in the World
03. The Soothsayer
04. Whoa Gosh
05. Junkies Everywhere
06. Crime of Passion
07. Sweet Tooth
08. Contraband
09. Wolfpack
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