Fuzzy Logic Baby – Glow In The Dark EP

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We suspect that like us Fuzzy Logic Baby is an undiscovered thrill for a great many but with the release of their simply brilliant new EP Glow In The Dark, that surely will change and very soon. The five track thought and passion provoking dance of invention and imagination is with ease one of the most vibrant and exciting releases this year, one that challenges and deviously ignites mind and soul whilst leaving the body exhausted from an impossible to resist temptation to participate in its mighty call.

Combining more flavours than a Michelin starred chef, the London quartet conjure sounds that work on every level leaving an intense temptation which seduces and does naughty things to primal urges. Formed in 2007 from according to their bio, a chance meeting, Fuzzy Logic Baby have developed and honed an innovative brew which is best described as hip hop and grime meets ska and reggae before flirting with punk and rock, or an easier way to imagine is they are like the insatiable hybrid of The Specials and Misty In Roots meeting Dizraeli & The Small Gods and Lazy Habits with The Karma Party whispering in their ears. It is a unique and compelling union of ideas and sounds that sets the band as one of the best emerging talents in the UK, if not anywhere.

Consisting of vocalist Darwood Grace (former member of Poetry collective 3+1 and film maker with the movie It’s A Lot released in cinemas in July), guitarist Jack Hearne, bassist Nicodemus Leo, and drummer James Thackery, the Hackney hailing Fuzzy Logic Baby have left a trail of fired up loyalty through their live performances which has seen them ignite venues around the capital and across the UK as well as sharing stages with the likes of Tinie Tempah, Katy B, Random Impulse, Mikill Pane, Wretch 32, and Professor Green. 2011 saw their impressive debut release, the GoodTimesDotCometh EP an acclaimed and well devoured by the media introduction.  Glow In The Dark is another animal, taking all their promise to new levels of hungry imagination and intrigue and presented with a fluency and skill that makes it all look so very easy.

The release opens with its biggest triumph, though every song and minute of the release walks the heights vertigo sufferers would sweat over. Howling Wolves is pure lyrical and musical alchemy, rhythms, notes, and syllables cast into a spellbinding romp that persuades feet, voice, and emotions to rush to its call with rabid lust, just like a fourteen year old boy to an abandoned copy of Knave (I think that is the name of one of those types of books…). From its first second tempting rhythms are coaxing out total attention as the vocals with a narrative that is impossibly absorbing feed their awakening. The vocals of Grace are outstanding in all forms of delivery and just as impressively backed up by others in the band, though no clarity to whom is found in info accompanying the release. A mischievous stroll that switches gait with every energetic swaggering step, the song is as delicious and richly flavoursome as Cornish ice cream, the mix of funk pressed ska and indie sculpted rock just one glorious aspect.

The following Gangsta In Da AM sidles in with a blaze of trumpet from Gary Annells and guitar teasing before expelling a flame of melodic energy to spark another canter of rhythmic suasion and seductive vitality. There is a Bang Data like sultriness to the reggae tinted amble whilst the vocals again unveil a lyrical tale that captures the imagination as unerringly as the colour soaked sounds. It is like its predecessor a track which has little trouble in leaving thoughts and emotions ablaze but when it kicks out with a punk bred confrontation evolving into a smouldering melodic hue of vocals and stinging guitar play nearing its end, the track is a beacon of excellence and invention. It is a stunning song that with its previous companion alone makes the release an impossibly important addition to the musical year.

There is no let-up though as firstly the current single March On brings another distinct and absorbing landscape to traverse closely followed by the outstanding title track. The first of the pair almost floats across the senses with a moody bass and shimmering melodic haze holding hands with the fine vocals of Grace. There is a firm and commanding lure to the track brought by rhythms and led by voice and bass, its dark charm wrapping a provocative almost intimidating caress around the ear. With the blaze of guitar and the subsequent carnivalesque swing adding extra sustenance to the climax, it all combines to create another unforgettable and thrilling moment in time. Its successor is a stirring mix of gentle melodies and punchy rhythms kissed by vocal harmonies and dazzling imagination that like all tracks on the EP teases and tempts further with a perpetual twist of changing ingenuity and imagination. A slow burning furnace of majesty, the song is arguably the most creative slice of scintillating composing and realisation on the release, standing high amongst nothing but startling invention and craft.

The closing No Problems is a dull and uninspiring track…oh do not be stupid there is no chance of that with Fuzzy Logic Baby on this release, the band once more sculpting a riveting course of musical and vocal juggling that spawns from numerous nefarious mischievous spices and unbridled devilry. It concludes a quite dazzling piece of aural imagining that steps up to challenge any release anywhere as one of the finest in 2013. With a UK tour on the near horizon, Fuzzy Logic Baby is about to take country and continent by storm; watch out world after that.

https://www.facebook.com/fuzzylogicbaby

http://www.fuzzylogicbaby.com/

10/10

RingMaster 04/08/2013

 

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Ruts DC – Rhythm Collision Volume 2

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For a great many of us the best punk band in the history of the genre was The Ruts, a band which fused raw street life and sound with addictive bass heavy dub and reggae. From day one they were a formidable and inciting presence cut short by the passing of frontman Malcolm Owen in 1980 aged 26. The history of the band up to that point is well documented within punk and rock, the music still igniting fires and lingering with relish and provocation year after year in many ways, and the same can be said of the band since, though the release of the new Ruts DC album Rhythm Collision Volume 2 equally highlights the large gap in music left by their absence for the last three decades.

Absence is a little misleading though as drummer Dave Ruffy and bassist John ‘Segs’ Jennings have certainly continued to inspire and leave a strong imprint on music, both playing live in numerous bands and with their impressive production skills which has led the pair to be tagged as Europe’s Sly and Robbie. It has been a long period for time to bare since the remaining members of The Ruts after the tragic death of Owen, released the albums Animal Now and Rhythm Collision as Ruts DC in 1981 and ’82 respectively, and an even bigger miss for music once Jennings, Ruffy, and guitarist Paul Fox called it a day a year after their last album. Their reunion in 2007 to play a benefit gig for Fox who had been diagnosed with lung cancer, and sadly died later the same year, ignited all the dormant passions with the show, an event which saw the likes of The Damned, Misty In Roots, UK Subs, Tom Robinson, and John Otway supporting and Henry Rollins taking over the vocal presence for the band, being declared as “the best punk gig of all time” by the Times.

This led to the band to reuniting with Neil Fraser aka Mad Professor who worked with the band on Rhythm Collision in the studio for an impromptu session which then led to another day of guest vocalists and musicians bringing their talent to the now vibrant project. Ruffy has said about the recording, “The album really came together by a series of fortunate events, before we knew it we were back in the studio for The Great Day of Vocals – Segs, Ngoni (aka Delbert McKay, Misty’s guitarist/vocalist), gifted lyricist Aynzli Jones, Brixton lyrics man Tenor Fly and Rob Love, frontman with Alabama 3 all turned up, tuned in and came up with the goods. Nothing was pre-conceived or planned.

Due to hectic schedules the proposed plan to get Mad Professor to do the final mix was an unavailable option the pair turned to Brighton producer Prince Fatty aka Mark Pelanconi. With everything in place and as it emerges beautifully finished, Rhythm Collision Vol.2 stepped forward and without any hesitation can be announced as one of the finest most exhilarating albums to grace and ignite the passions in a long time. The rhythmic heart of the album shows Ruffy and Jennings have lost none of their majestic power and provocative resonance whilst creatively they lay bench mark after benchmark for bands and artists to be inspired by within reggae, dub, punk, music.

As soon as the brilliant Mighty Soldier idles up to the ear with a warm ambience and joyful tease there is a fire smouldering within the ear, the throaty bass lure vibrant yet shadowed whilst the vocals of Tenor Fly shape thoughts with style and slight mischief within the seductive harmonies. It is a mild paced romp, a pulsating evocative persistence which leaves feet, voice, and passion eager to add their collaboration to the sultry dance, the brass flames bringing further irresistible temptation. Throughout the space synths of Steve Jones tease and add sweet devilry to the encounter whilst the keys of Seamus Beaghen provide a caress and firm push which leads to greater ardour for the stunning start whilst the guitar niggle is incendiary within the whole impressive blaze.

Through the likes of the sky travelling soundscape of Mix Up featuring Molara Awen on vocals, the white hot persuasion of One Step and Smiling Culture, the release grips tighter on the senses and emotions. The second of the trio resonates through thought and synapse whilst its touch is like a seductive walk over hot coals, a track to be taken gently, devoured thoughtfully, and enjoyed addictively, whilst the third, a song based on the death of Smiley Culture, is a deeply evocative and beautifully sweltering fascination of intent and sound with the vocals of Aynzli Jones and Rob Love riveting. At this point the album has already left a full rapture for its presence at play and goes on to only reinforce its potency with each track.

The oscillating atmosphere of Technology with its impossibly contagious brass call and the bone trembling sirenesque bass inducement of Jennings, which pushes the boundaries of Sun & The Stars to their delicious limits, evoke further imagination and hunger whilst the mesmeric caress of London Dub featuring Smokes (William Simon) is instant captivation, a welcome submergence in a soak of roasting ambience and equally fervid breath.

For personal tastes the first half of the album steals the show with its insatiable energy and invention but as the songs just mentioned and the likes of the thrilling dub heaven Heavyweight Style and The Road unveil their imperious charms there is no loss of lustful hunger and pleasure across the whole album. Featuring the blissful voice of Jessica Mcintyre, The Road is another glorious torrid slice of beauty veined by pulsating shadows from that irresistible bass lure of Jennings, a final triumph on the album though the two dub-core mixes of Technology and Soldier which do finally close the album are no fillers either.

With further contributions from guitarist Leigh Heggarty and vocals from Ngoni Mukai and Aurora Dawn in the mixing pot, the Sosumi Recording released Rhythm Collision Volume 2 is an unbridled treat, a collaboration extraordinaire which leaves the body, soul, and world a better place.

www.theruts.co.uk

10/10

RingMaster 13/05/2013

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