Afterlife’s brand new album feels as much about breathing in life as it does about celebrating it. Opening up the possibilities is the self-aware (and rare) On The Inside (co-written/ performed by Coldcut’s Jonathan More and Matt Black) which plucks a sense of George Harrison from the ether as vocalist Holly Chand fuses the cosmic together with finely tuned production values. That feeling of the expanse unfolds with the proceeding The Way To San Jose as gently strummed guitars illuminate the horizon of Balearic futures. And much as before the music then traverses differing occasions and atmospheres via punchier drums on the funkier On Being – you register a theme now? – while taking a dip into the light via the more downbeat, though strangely uplifting, Disparu. The equally captivating Frankly My Dear also ploughs relaxed yet conversely invigorating sensibilities affording your mind a holiday of its own location, as the frankly wondrous cover of War’s timely The World Is A Ghetto ends with a rush of emotion which you will find throughout your being. Poignant electric piano engages with the sentiments alongside pulsating waves of drums and bass signifying the power of music and musicality all in one easy lesson. Let’s see what the Winter brings after….
Subatomic ‘s latest shot across the horizon sees multi-instrumentalist Micko Roche tease the airwaves with perfect harmonies and beyond. And what’s particularly wonderful here is the diverse nature of the sounds as the play fast and sometimes loose with identities and atmospheres. From the low-slung kick drums that drive the delicious opening title track forward to the liquid funk of the proceeding Slow Train the album proves to be much more than just the sum of its parts. Listening to this feels like a celebration of life, albeit without the darker moments, but by absorbing all of those gorgeously breathy vocals will prove to be as good a lesson in existence as any. Numbers like Coumshingaum then simply surpass themselves with the kind of excessively blissful guitars that wouldn’t be out of place on Crosby, Stills and Nash’s debut album, and from me that’s a compliment. The wash of stereo eventually finds its logical conclusion with the suitably pulsating beats plus harmonious words of The Sea, though not before Afterlife performs magic upon both Baltimore and Slow Train on two bonus versions. Choice.
Yes, this is a bit special. All your favourite numbers crafted via the hands of Steve Miller’s timely Afterlife reworked, or reimagined, by a rather sparkling array of stars. Of course, I’ll avoid using the word blissful in the course of this conversation, most definitely sublime, although I will have to indulge in Balearic – just for old time’s sake. The Coyote remix of Es Palmador begins proceedings beautifully, followed neatly by FSQ’s good-time funky version How Does It Feel which sounds like a band playing right before your eyes – happy days. And so the lush vibes continue with various other standouts coming from Robot 89’s interpretation of Ozo, Steve Cobby’s sonically charged take on the charming guitar strains of Tonto, plus Chris Coco’s frankly epic Blue Bar which heightens the keyed in cinematic ambience to breaking point. And beyond.
Release: April 14
The original versions…..