Bonobo

Review: Since first emerging at the tail end of the '90s, Simon Green has become downtempo music's most marketable star, appealing just as much to occasional listeners and 40-something housewives as underground heads. Throughout that time, he's carefully shifted his sound to take in current trends and musical developments, whilst retaining a certain picturesque aesthetic. This fifth full-length, his fourth for Ninja Tune, continues that trend. Amongst the usual shuffling beats and twinkling melodies you'll find garage-esque vocal cut-ups, rubbery dancefloor rhythms, Floating Points style neo-jazz, string-laden two-step and some seriously wonky soul featuring vocals from Erykah Badu.

Review: Black Sands, the eagerly anticipated fourth album from Simon Green AKA Bonobo, is no revolutionary change from his signature sound but does come with perhaps even more subtlety and complexity than his previous offerings. Having constantly instilled a degree of integrity and value back into chill out music following the influx of Cafe Del Mar and Coffeeshop compilations, Green once again displays a musicianship that sets him apart as a true artist and producer amongst a sea of downtempo and chillout DJs.
His undeniably clear understanding of composition and arrangement of live instruments has enabled Green to make an album that reaches out through diverse styles, taking influence and inspiration from wherever possible. On Black Sands, Green delves into electronic music and bass more than he did across Animal Magic, Dial "M" For Monkey or Days To Come but does so with enough subtlety and finesse to refrain from causing a radical shift in his product. Tracks like "Kiara," "We Could Forever" and "All In Forms" all utilise beats and bass in a more contemporary outlook than we are used to with Bonobo. Of course the instrumental feel is still there for all to see. Title track "Black Sands" takes this position for almost seven minutes of a horn infused waltz whereas "Kong" assumes the traditional soul-jazz Bonobo take and "Animals" lets delicate drum patterns guide us through pleasing tempo shifts.
The instrumental vibe is highlighted further in the album's approach to vocals. Unlike his last album, Days To Come which was littered with vocals, Black Sands houses only three tracks that contain vocals. The breathy vocals of Andreya Triana complete tracks like "Stay the Same" and "The Keeper" turning them in more traditional songs. Black Sands is another loving crafted offering that uses orchestral arrangements but this time merged with more of a dance aesthetic. As he continues to make chillout more credible in his experimental way, it's no wonder that Bonobo is one of the biggest artists to come from the excellent Ninja Tune.

Review: Given his impressive track record, hopes are naturally high for Bonobo's sixth album, Migration, which is his first full-length since 2013. Happily, it's a majestic affair, with the producer delivering another sumptuous set of tracks. It was partly inspired by an extended period musing on the nature of personal identity, and the role that nationality plays in that. This concept is translated via thoughtful lyrics, and songs that draw musical influence from the four corners of the globe. It's not a big stylistic leap, of course - his bread and butter remains yearning, emotion-rich downtempo music built around gently jazzy grooves and impeccable live instrumentation - but given that few artists do it better than Bonobo, we'll forgive him for that.

Review: Given his impeccable downtempo credentials, you'd expect Bonobo's Late Night Tales mix to be one of the finer installments in the series (and that's saying something). Predictably, it is. Sweet, sensual and atmospheric, with plenty of unlikely gems and forgotten classics for the heads to enjoy, it surprises and impresses with each successive track. This vinyl edition features 17 of the tracks unmixed (naturally) and lifts out many highlights. His own cover of Donovan's "Get Thy Bearings" is particularly revelatory - string drenched, hazy, atmospheric and, of course, immaculately produced - but there are many other gems. Check Darondo's classic heart breaker "Didn't I," the smoky reggae-soul of Nina Simone's "Baltimore", and the enveloping intimacy of Shlohmo's "Places". Do seek out Benny Cumberbatch's spoken word turn at the end too! (mp3 download code for the full release included).

Review: For their first foray into the mix market following the conclusion of their original, 100-volume series, London superclub Fabric has decided to offer up a rare DJ mix from genre-defying producer Simon Green AKA Bonobo. It's his first mix of any sort since 2013 and it is really rather good. Beautiful, picturesque, melodious and fluid, the mix not only includes heaps of previously unheard material from the man himself, but also touches on a dizzying number of styles (most notably ambient, loved-up deep house, African and South American drum music, IDM, electronica, techno, electro-soul, broken beat and dreamy breaks). That it all hangs together brilliantly is testament to Green's impeccable DJing and production skills.

Review: For their first foray into the mix market following the conclusion of their original, 100-volume series, London superclub Fabric has decided to offer up a rare DJ mix from genre-defying producer Simon Green AKA Bonobo. It's his first mix of any sort since 2013 and it is really rather good. Beautiful, picturesque, melodious and fluid, the mix not only includes heaps of previously unheard material from the man himself, but also touches on a dizzying number of styles (most notably ambient, loved-up deep house, African and South American drum music, IDM, electronica, techno, electro-soul, broken beat and dreamy breaks). That it all hangs together brilliantly is testament to Green's impeccable DJing and production skills.