sons of kemet free download , VA - Collection (2013-2018) Artist : Shabaka Hutchings (Sons Of Kemet, , Sarathy Korwar, Shabaka And The Ancestors, Hieroglyphic Being, Sarathy Korwar & Shabaka Hutchings, Andrew McCormack, Yazz Ahmed) Title : Collection Year Of Release : 2013-2017 Label : Naim Jazz, Leaf, Ninja Tune, Brownswood Recordings Genre : Avant-garde Jazz, Afrobeat, Rock, World Quality : 16/24 bit 96000 Hz (44.9%); 44100 Hz (36.8%); 48000 Hz (18.4%) Total Time : 6:51:42 Total Size : 7.1 GB WebSite : Album Preview. Bio Shabaka Hutchings, a saxophonist, band leader and composer, part of ’s community of younger jazz musicians as well as the city’s thriving improvised music scene. For Hutchings, composition is a chronicle of the zeitgeist inhabited by a composer; an exposition of his or her search for meaning and the structuring of experiences in aid of recognising this meaning when it appears. As part of the Caribbean diaspora, he sees his role as that of pushing the boundaries of what musical elements are considered to be Caribbean. Constantly evaluating the nature of his relationship with musical material and tradition, he describes his attempts at composition as wrestling matches with questions of where and how the Caribbean can be encoded, and what happens when it is exposed to the western classical music cannon. Hutchings was born in 1984 in London. He moved to Barbados at the age of six, began studying classical clarinet aged nine and remained until sixteen. Shabaka's primary project is the group Sons of Kemet, which won the 2013 MOBO Award for Jazz Act of the Year. In June 2014 Shabaka was invited to join the Sun Ra Arkestra, performing with them and recording a session for BBC Radio 3. He has performed and recorded with Courtney Pine's Jazz Warriors, and the Heliocentrics, Polar Bear and Soweto Kinch. Some of the many notable musicians he has shared the stage with include Jack DeJohnette, Charlie Haden and the Liberation Music Orchestra, Louis Moholo, Evan Parker, King Sunny Ade and Orlando Julius to name a few. In 2010 Shabaka was granted the title of BBC Radio 3 New Generation Artist which allowed him to undertake numerous commissions, as well as broadcast performances on radio. These included performances with Julian Joseph, the BBC Big Band, and the BBC National Orchestra of Wales (with whom he performed the Copland Clarinet Concerto in the Wales Millennium Centre). In 2012 he was commissioned to write a piece for the BBC Concert Orchestra which included members his own group (Sons of Kemet) and electronic musicians Leafcutter John and Jason Singh. This concert was received to critical praise at the South Bank's Queen Elizabeth Hall. In July 2013 Shabaka was commissioned by Leasowes Bank Music Festival to write a piece for clarinet and string quartet. He performed this piece with the Ligeti String Quartet to rave reviews (the Birmingham Post giving the concert 5 stars). Shabaka was nominated for Jazz Musician of the Year 2013 in the Parliamentary Jazz Awards. Shabaka was a recipient of the Paul Hamlyn Composer Award 2014 and the winner of the Jazz FM Instrumentalist of the Year 2015. Earlier in 2015, Shabaka also received a commission from the London Sinfonietta to write a 'note to the new government' and was Associate Artist for the Spittalfields Summer Festival. The second Sons of Kemet album, 'Lest we forget what we came here to do' was released in September 2015 on NAIM and the trio project, The Comet is Coming, featuring Shabaka, Dan Leavers, and Max Hallett, released it's first EP on Leaf Label in october 2015. Albums 2013 Sons Of Kemet - Burn FLAC 16-44,1 2013 Sons Of Kemet - Burn FLAC 24-96 2015 The Comet Is Coming - Prophecy FLAC 16-44,1 2015 The Comet Is Coming - Prophecy FLAC 24-96 2016 Sarathy Korwar - Day To Day FLAC 16-44,1 2016 Sarathy Korwar - Day To Day Remixes FLAC 16-44,1 2016 Shabaka and the Ancestors - Wisdom of Elders (feat. Shabaka Hutchings) FLAC 16-44,1 2016 Shabaka and the Ancestors - Wisdom of Elders (feat. Shabaka Hutchings) FLAC 24-48 2017 Hieroglyphic Being - A.R.E. Project FLAC 16- 44,1 2017 The Comet Is Coming - Channel the Spirits (Special Edition) FLAC 16-44,1 2017 The Comet Is Coming - Channel the Spirits (Special Edition) FLAC 24-96 2017 Yazz Ahmed - La Saboteuse FLAC 16-44,1 2018 Sons Of Kemet - Your Queen Is A Reptile FLAC 16- 44,1 2018 Sons Of Kemet - Your Queen Is A Reptile FLAC 24-96. 2013 - Burn | Tracklist: 01. Sons Of Kemet - All Will Surely Burn (6:19) 02. Sons Of Kemet - The Godfather (5:17) 03. Sons Of Kemet - Inner Babylon (5:20) 04. Sons Of Kemet - The Book of Disquiet (5:34) 05. Sons Of Kemet - Going Home (3:53) 06. Sons Of Kemet - Adonia's Lullaby (4:11) 07. Sons Of Kemet - Song for Galeano (4:25) 08. Sons Of Kemet - Beware (3:37) 09. Sons Of Kemet - The It Is (2:29) 10. Sons Of Kemet - Rivers of Babylon (8:38) 2015 - Prophecy | Tracklist: 01. The Comet Is Coming - Neon Baby (3:42) 02. The Comet Is Coming - Star Exploding in Slow Motion (6:41) 03. The Comet Is Coming - Do the Milky Way (3:07) 04. The Comet Is Coming - Cosmic Serpent (2:58) 05. The Comet Is Coming - Final Days of the Apocalypse (feat. Joshua Idehen) (2:30) 2016 - Day To Day | Tracklist: 01. Sarathy Korwar - Bhajan (4:43) 02. Sarathy Korwar - Bismillah (8:05) 03. Sarathy Korwar - Dreaming (4:35) 04. Sarathy Korwar - Eyes Closed (3:31) 05. Sarathy Korwar - Hail (3:49) 06. Sarathy Korwar - Indefinite Leave To Remain (5:50) 07. Sarathy Korwar - Karam (5:36) 08. Sarathy Korwar - Lost Parade (1:13) 09. Sarathy Korwar - Mawra (Transcendence) (4:58) 2016 - Day To Day Remixes | Tracklist: 01. Sarathy Korwar - Dreaming (Tenderlonious Remix) (5:29) 02. Sarathy Korwar - Bismillah (Photay Remix) (6:50) 03. Sarathy Korwar - Mawra (Transcendence) (Emanative Remix) (4:09) 2016 - Wisdom of Elders (feat. Shabaka Hutchings) | Tracklist: 01. Shabaka and the Ancestors - Mzwandile (feat. Shabaka Hutchings) (13:31) 02. Shabaka and the Ancestors - Joyous (feat. Shabaka Hutchings) (6:38) 03. Shabaka and the Ancestors - The Observer (feat. Shabaka Hutchings) (9:02) 04. Shabaka and the Ancestors - The Sea (feat. Shabaka Hutchings) (11:48) 05. Shabaka and the Ancestors - The Observed (feat. Shabaka Hutchings) (1:43) 06. Shabaka and the Ancestors - Natty (feat. Shabaka Hutchings) (9:57) 07. Shabaka and the Ancestors - OBS (feat. Shabaka Hutchings) (5:14) 08. Shabaka and the Ancestors - Give Thanks (feat. Shabaka Hutchings) (8:09) 09. Shabaka and the Ancestors - Nguni (feat. Shabaka Hutchings) (9:29) 2017 - A.R.E. Project | Tracklist: 01. Hieroglyphic Being - The Doctrines Of Swedenborg (7:48) 02. Hieroglyphic Being - Calling The Loas (4:52) 03. Hieroglyphic Being - Dimensions Of Frequency & Vibrations (8:10) 04. Hieroglyphic Being - Ashrams (4:24) 2017 - Channel the Spirits (Special Edition) | Tracklist: 01. The Comet Is Coming - The Prophecy (1:49) 02. The Comet Is Coming - Space Carnival (3:36) 03. The Comet Is Coming - Journey Through the Asteroid Belt (5:33) 04. The Comet Is Coming - Nano (1:16) 05. The Comet Is Coming - New Age (5:27) 06. The Comet Is Coming - Slam Dunk in a Black Hole (2:26) 07. The Comet Is Coming - Cosmic Dust (3:26) 08. The Comet Is Coming - Star Furnace (5:37) 09. The Comet Is Coming - Channel the Spirits (4:04) 10. The Comet Is Coming - Deep Within the Engine Deck (1:22) 11. The Comet Is Coming - Lightyears (feat. Joshua Idehen) (4:46) 12. The Comet Is Coming - End of Earth (2:16) 13. The Comet Is Coming - Neon Baby (3:42) 14. The Comet Is Coming - Star Exploding in Slow Motion (6:41) 15. The Comet Is Coming - Do the Milky Way (3:07) 16. The Comet Is Coming - Cosmic Serpent (2:58) 17. The Comet Is Coming - Final Days of the Apocalypse (feat. Joshua Idehen) (2:30) 18. The Comet Is Coming - Slammin (3:29) 19. The Comet Is Coming - Transmission (1:44) 20. The Comet Is Coming - Closing Credits (5:05) 2017 - La Saboteuse | Tracklist: 01. Yazz Ahmed - Inhale (1:21) 02. Yazz Ahmed - Jamil Jamal (8:12) 03. Yazz Ahmed - Misophonia (1:14) 04. Yazz Ahmed - The Space Between the Fish and the Moon (5:02) 05. Yazz Ahmed - La Saboteuse (4:32) 06. Yazz Ahmed - Al Emadi (6:16) 07. Yazz Ahmed - Inspiration Expiration (1:02) 08. Yazz Ahmed - The Lost Pearl (7:19) 09. Yazz Ahmed - Bloom (5:08) 10. Yazz Ahmed - Beleille (7:23) 11. Yazz Ahmed - Whirling (0:43) 12. Yazz Ahmed - Organ Eternal (7:22) 13. Yazz Ahmed - Exhale (1:26) 2018 - Your Queen Is A Reptile | Tracklist: 01. Sons Of Kemet - My Queen Is Ada Eastman (6:41) 02. Sons Of Kemet - My Queen Is Mamie Phipps Clark (5:31) 03. Sons Of Kemet - My Queen Is Harriet Tubman (5:40) 04. Sons Of Kemet - My Queen Is Anna Julia Cooper (5:07) 05. Sons Of Kemet - My Queen Is Angela Davis (6:35) 06. Sons Of Kemet - My Queen Is Nanny Of The Maroons (6:44) 07. Sons Of Kemet - My Queen Is Yaa Asantewaa (7:04) 08. Sons Of Kemet - My Queen Is Albertina Sisulu (5:19) 09. Sons Of Kemet - My Queen Is Doreen Lawrence (6:47) Sons Of Kemet - Lest We Forget What We Came Here to Do (2015) Hi Res. Artist : Sons Of Kemet Title : Lest We Forget What We Came Here to Do Year Of Release : 2015 Label : Naim Records Genre : Jazz Quality : 320 kbps | FLAC (tracks) | 24Bit/44 kHz FLAC Total Time : 00:53:31 Total Size : 123 mb | 335 mb | 605 mb WebSite : Album Preview. 01. In Memory of Samir Awad 02. In the Castle of My Skin 03. Tiger 04. Mo' Wiser 05. Breadfruit 06. The Hour of Judgement 07. The Long Night of Octavia E Butler 08. Afrofuturism 09. Play Mass. “Two years ago, Son’s of Kemet were already blowing live audiences away and fascinating listeners on record - they do it even better now.” - The Guardian. “Sons of Kemet’s music is as complex and intricate as the heritage that influenced it” - Complex. “Occasionally, doing this record critic lark, you come across something that’s complete joy. Son’s of comet’s latest long-player is just that, a joy from start to finish.” - Echoes and Dust. “This is one of those albums which thrills on every level; everything is executed to perfection.” - Twistedsoul. Lest We Forget What We Came Here To Do. Children Of Immigrants Wandering Through A Post-Colonial Babalas. Sons Of Kemet are born of many vital elements – including a name that nods to ancient Egyptian culture, and a line-up that comprises some of the most progressive 21st-century talents in British jazz and beyond. Band-leader, composer and sax and clarinet don Shabaka Hutchings (himself named after a Nubian pharaoh-philosopher) brings together his fiery vision alongside London-based bandmates Tom Skinner and Seb Rochford (forming a dynamo duo on drums here) and latest addition Theon Cross (taking over from Oren Marshall on tuba). These collaborative players have previously won major praise in celebrated acts such as Polar Bear, Hello Skinny, Melt Yourself Down, Mulatu Astatke and the Heliocentrics, and Sun Ra’s Arkestra. Yet there’s still nothing quite like the ‘supergroup’ sound of Sons Of Kemet: eloquent, fierce, explosively funky – and thrillingly out-there. ‘I see Sons Of Kemet as a group that’s free to explore even more areas,’ smiles the genial 31-year-old Hutchings. ‘The music is driven by the band’s synergy, but it could go anywhere, and we’ve played everywhere from sit-down art venues to sweaty nightclubs and international festivals; we’re not forced into one direction. We can let our musicality take on a life of its own. When we play live, we know what the end result is: everyone in hysteria. But how we get there is anyone’s guess.’ Originally formed in May 2011, Sons Of Kemet had already forged a rep for incendiary live sets by the time their debut album, Burn, was released in September 2013. That assured collection inspired passionate props across the board, from DJ/music connoisseur (who included Burn in his Worldwide Awards shortlist) to The Arts Desk (who pronounced it Album Of The Year), iTunes Best Of Jazz, and The Quietus. The band also scooped the MOBO Best Jazz trophy that year, which remains one of Hutchings’s proudest achievements: ‘It felt like lots and lots of work had actually paid off,’ he says, adding wryly: ‘Actually, I see Burn as quite a restrained album.’ Hutchings regards Sons Of Kemet’s hotly anticipated second album, Lest We Forget What We Came Here To Do, as a vivid continuation of their debut work’s themes, rather than a complete departure. He also describes the latest collection as ‘a meditation on the Caribbean diaspora in Britain’. ‘The realisation dawned after I’d started writing these tunes,’ he explains. ‘I was thinking of my grandmother’s generation from the Caribbean, who came here to work incredibly hard, and also what it means to be a black person in Britain now, especially a generation of youth experiencing high unemployment, and those elements of society who are not always easy to see.’ A pivotal track on Lest We Forget… is the ‘earthy and ceremonial’ Afrofuturism, which takes the band’s explorations of Caribbean roots into new realms: ‘The bass rhythm on that track is based on a traditional Barbadian style called tuk, with a bass and snare drum; it’s similar to fife music from New Orleans, but there are also links to West African roots, and Western military band music. Barbados is quite a small island, and before the emancipation of slaves, there was nowhere for people to privately retain African cultural traits or beliefs – so they were finding ways to keep those elements in “acceptable” forms of music. I think it could be a Caribbean thing: to express something with deep meaning about society, that might come from having experienced trauma, within a form that might feel quite light-hearted. You get the same thing in calypso music.’ The expansive roots of Lest We Forget… also reflect Hutchings’s personal history. ‘I do see this as my baby,’ he admits. He was raised in Birmingham, but spent his years between the ages of 6 and 16 in Barbados, where he first picked up an instrument – in his school’s recorder group, aged 9. ‘I was quite staid,’ he laughs. ‘I thought I was going to be in an orchestra; it was all about classical and calypso bands for me. When I was in the Caribbean, kids my age saw jazz as music for old people or rich people.’ That perspective shifted radically back in Birmingham, when Hutchings befriended alto-sax and MC talent Soweto Kinch, at the latter’s weekly live jam sessions. ‘It was incredible to hear jazz being played live and mixed with hip hop by someone who was close to me and cool,’ he recalls. Hutchings began to delve into the jazz music catalogue at Birmingham library, while constantly sharpening his own skills, winning a place to study clarinet and then saxophone at London’s prestigious Guildhall School Of Music And Drama. Just as Burn blazed through unpredictable atmospheres and effects, Hutchings incorporates far-reaching influences on Lest We Forget… These range from his relationship with classical concepts (Mo’ Wiser), to literary inspirations on tracks such as In The Castle Of My Skin (named after Barbadian author George Lamming’s 1953 novel about post-colonial identity) and The Long Night Of Octavia Butler, in homage to the award- winning African-American sci-fi writer. ‘When I read books I love, they kind of put a trance over me, and Octavia Butler particularly has that effect,’ says Hutchings. ‘I was thinking about her 1998 novel Parable Of The Talents; it presents a futuristic vision that is just close enough to normality to make you unsettled.’ Meanwhile, the album’s exceptionally resonant opening track reflects an unsettling modern reality; In Memory Of Samir Awad was written to commemorate a Palestinian teen killed by Israeli forces as he fled their gunfire in 2013. ‘We’re trying to immortalise an everyday youth, and an occurrence that is everyday in that region of the world, and to say that it is significant,’ says Huchings. ‘I wanted an intensity that continued throughout the piece. It’s a taut existence, and the low notes symbolise the bombings or eruptions in “normal” life under occupation.’ The album’s overall ‘restless and trancey’ energy is definitely a collective achievement, and Hutchings is full of enthusiasm for his bandmates’ powerful and intuitive dynamics. ‘All of the other members are composers of music in their own right, and I think that’s really important,’ he says. ‘I can give them the bare roots, and they’re thinking about the balance, how the grand structure of the piece hangs. Everyone’s focused, and I can dig into my own role.’ Sons Of Kemet have seeped this latest material into their irrepressible live sets over the past year and a half. Now it comes into its own, as Lest We Forget What We Came Here To Do – and the possibilities are still exhilarating: ‘On some level, our duty is to give the audience what they want,’ says Hutchings. ‘On another, it’s to prise open those expectations and put something else in there – and on another level, it’s to forget all of that, and just create euphoria.’ MQS Albums Download.

Mastering Quality Sound,Hi-Res Audio Download, 高解析音樂, 高音質の音楽. Sons Of Kemet – Your Queen Is A Reptile (2018) [FLAC 24bit/96kHz] Sons Of Kemet – Your Queen Is A Reptile (2018) FLAC (tracks) 24 bit/96 kHz | Time – 55:26 minutes | 1,08 GB | Genre: Jazz Studio Masters, Official Digital Download | Front Cover | © Impulse! For his début on the label impulse!, Shabaka Hutchings is performing with Sons Of Kemet, the group which probably resembles him the most. A prestigious orange and black label, at one time very politically engaged: it seems impulse! and Hutchings were meant for each other. “So many of my musical heroes including John Coltrane, Alice Coltrane and Pharoah Sanders have been housed under this record label, it’s an honour to join the family.”, the star said of the blossoming contemporary British jazz scene… The brilliant saxophonist is turning out project and pieces one after another, (Sun Ra Arkestra, Heliocentrics, Anthony Joseph, Floating Points) and is voraciously working his way through bands: The Comet Is Coming, Melt Yourself Down, Shabaka And The Ancestors, and now Sons Of Kemet, which have been going since 2011. Born in London in 1984, Hutchings spent his youth in Barbados where he studied classical clarinet before playing in calypso and reggae groups, later to be joined by Soweto Kinch, who plays here with co-conspirators Theon Cross on tuba and two drummers, Tom Skinner and Eddie Hick. His quartet’s atypical jazz pays little heed to stylistic boundaries as it celebrates the way that they Caribbean diaspora in the UK constantly explores its identity. Recorded in London with guests like Jungle legend Congo Natty or poet Joshua Idehen, this third album from Sons Of Kemet is also a manifesto denouncing what Hutchings and his friends call the injustice of the British monarchy, an oppressive political system that they say underpins social inequalities and racial discrimination. Rejecting the unequal system embodied by the Queen of England, they propose an alternative, celebrating other Queens. “Our Queens walked among us. Our Queens led by action, by example, our Queens listened. Our Queens made bright futures out of cruel and unfair pasts.” Every composition on the album pays homage to a different queen: My Queen is Ada Eastman, My Queen is Harriet Tubman, My Queen is Angela Davis, My Queen is Yaa Asantewaa. Tracklist: 01. My Queen Is Ada Eastman 06:39 02. My Queen Is Mamie Phipps Clark 05:29 03. My Queen Is Harriet Tubman 05:38 04. My Queen Is Anna Julia Cooper 05:05 05. My Queen Is Angela Davis 06:34 06. My Queen Is Nanny Of The Maroons 06:41 07. My Queen Is Yaa Asantewaa 07:02 08. My Queen Is Albertina Sisulu 05:14 09. My Queen Is Doreen Lawrence 06:48. Personnel: Shabaka Hutchings, saxophone , saxophone (track 4) , saxophone (track 7) Theon Cross, tuba Tom Skinner, drums Seb Rochford, drums (tracks 1, 2, 4-6, 8, 9) , drums (tracks 3, 7, 8) Eddie Hick, drums (tracks 3, 7) Maxwell Hallett, drums (track 9) Josh Idehen, vocals (tracks 1, 9) Congo Natty, vocals (track 2) Sons of kemet free download. Item added to your basket. Vinyl 1×LP. + WAV / FLAC. + WAV / FLAC. Download. MP3 WAV / FLAC WAV (24-bit) 320 kbps, LAME-encoded. 24 / 96. Seldom has a band on the British jazz scene created such a buzz before releasing an album, but through their live shows - and some delightfully unexpected airplay - Sons of Kemet have done just that. A super-group of sorts led by clarinetist, saxophonist and composer Shabaka Hutchings with Oren Marshall on tuba and both Tom Skinner and Seb Rochford on drums, Sons of Kemet are set to release their stunning debut album Burn on 9 September on the go-to label of the year, Naim Records . It was in spring of 2011 at Charlie Wright’s in East London that Sons of Kemet first unleashed their unique sound to a live audience and since then they have gone on to impress many with their live shows, whether it be in session for BBC Radio 3’s Jazz On 3, at this year’s Cheltenham Jazz Festival or in collaboration with the BBC Concert Orchestra at the Queen Elizabeth Hall as part of the 2012 London Jazz Festival . Their debut album is therefore much anticipated and rest assured that Burn delivers on every level. In short, the combination of these four mighty creative forces has yielded music that is powerful, lyrical and, above all, fiercely original. Although born in London, Hutchings spent most of his childhood in Barbados. On returning to the UK in 1999 he was soon heralded as an exceptional talent on the British jazz scene, not only playing with luminaries such as Jerry Dammers , Courtney Pine and The Heliocentrics but also being named a BBC Radio 3 New Generation Artist. However, he felt the music he was playing lacked the Caribbean slant of his background and thus, Sons of Kemet (Kemet is one of the first recognised names for ancient Egypt and its last Nubian king was called Shabaka) was born. It’s partly the deployment of two drummers – and two powerhouse drummers at that – that gives Sons of Kemet their compelling and infectious sound. Skinner and Rochford’s (Mercury Prize nominated Polar Bear & Acoustic Ladyland) visceral exchange of rhythmic ideas is an unforgettable, highly danceable experience. Throw into this one of the great wild cards of contemporary British music, Oren Marshall on tuba, and you have a wonderfully unorthodox configuration. For music and cultural inspiration it was back to his childhood and Barbados that Hutchings turned. Seeking guidance from Barbadian ethnomusicologists specializing in early Caribbean music, he was soon furnished with numerous recordings that he studied in depth. Before long, the links between the music of New Orleans and West Africa became clear and the work of two visionary Jamaican artists in particular percolated into Hutchings’ mind: Count Ossie and Cedric ‘Im’ Brooks , two musicians who would become a major influence on the band. However, the themes and sources of inspiration for all the tracks on Burn indicate a wider conceptual net. Inner Babylon addresses the issue of the cultural hegemony of America; The Godfather is a tribute to the legendary Ethiopian musician Mulatu Atsatkue (with whom Hutchings and Tom Skinner have played with over the last few years) and All Will Surely Burn is a reflection on the pressing subject of global warming. Hutchings’ interest in literature is referenced by two pieces that evoke writers who have inspired him: Song For Galeano is for celebrated Uruguayan writer Eduardo Galeano and The Book Of Disquiet is for the Portuguese poet Fernando Pessoa . The reprise of The Rivers Of Babylon , which Hutchings describes as a ‘standard’ within the Afro-Caribbean tradition and a staple of Rastafarian nyabinghi drumming music, is arguably the clearest indication of the far-reaching history that frames Son Of Kemet . A curiously addictive album that manages to appeal to both heart and mind, there is little to compare it with. Instead, Burn feels like that rare thing, an exciting new sound that somehow worms its way into your brain and won’t let go. Exceptionally assured for a debut album, Burn surely has to become one of the standout releases for 2013. The Free Jazz Collective. Often times while penning down a review, I get down to thinking what yardsticks and traits constitute an ideal piece of critique. And more often that not I end up boiling down to the struggle between objectivity and subjectivity. To write a piece as an emotional reaction to a piece of music devoid of all prejudices and bias and prior knowledge about the band, their influences, the genre they fall into, in my opinion, results in a piece of writing that is mostly objective. But subjectivity brings its own school of merits - by providing a counter point to all the facets of objectivity that I have cited above, it brings home a certain authenticity that a reader can instinctively connect to. A subjective piece (expertly written) can lead a reader to make conclusions and judgments without even listening to the music it attempts to describe. In summary achieving a credible middle ground balancing both schools of thought would be the IDEAL review but I would assume that that is no easy act to pull off. However for the record in question I had no option but to resort to the former school of practice for I had never heard of Sons of Kemet, who the band consisted of and not even what instruments I was going to get to listen to. And I kept it that way keeping in check every impulse to call upon Google's services. What ensues is the amazing ride I experienced when I hit that play button. The first track, All Will Surely Burn ( an apt title in hindsight!) started with a pounding assault with what I was sure was a dual drum set; ten seconds in a brass sets the stability to the tune; another ten seconds, enter reeds stating a melody with the drums unrelenting all the while - all this happens in first 30 seconds - enough to get me hooked (I recounted later that what began as a sitting and relaxed posture while starting out to listen automatically turned into a semi-frantic pacing, the dispelling of energy I suppose!). The track continued in the same vein with the drums and brass not letting down the pulse while the reeds was free to explore with multiple melodic lines. Calling this a wonderful start would probably be a huge understatement. Seeing how already I have spent quite an amount of space for just the first track, I would think it wise to refrain from a track wise description. I will stick to some highlights that should describe what the album has to offer. The ordering of the tracks was pretty much perfect - the high energy tracks are seemingly punctuated by the slower brooding ones almost letting the listener and the record breathe. The fourth track, The Book of Disquiet , is the first of this - it is an almost meditative piece with every instrument developing motifs and ideas around one another. This track serves as the perfect piece to spotlight the superlative drumming that one gets to listen to - the drummers who can create blistering and quivering rhythms (often of multiple varieties - African, reggae, dub and what not) also know when to resort of tasteful restrain happy to provide a foundation on which their colleagues get to stretch and turn. Also the album is filled with memorable hooks that refuses to stop swimming in your head (I would challenge anyone to stop humming the riff of Inner Babylon ) - I guess this is song writing and arranging that is so well thought out that it is amply evident in its execution. Another facet that I found exciting to listen to is how every instrument is ready to be the base on which the others can improvise - an example being The Godfather , the track that follows up the blistering opener, has a brilliant melodic hook around which everything seems to build and fall. I found it a brilliant counterpoint with the brass exploring sounds around this melody. Beware (which I later learned is a staple live track) is where the brass almost single handedly propels the song forward with a fierce drive around which the drums and reeds walkabout - a mesmerizing track. Almost every song exemplifies the tightness of the band portraying the level of comfort they have with one another and they are at their shining best when each of the instruments build up to end in an aggressive flourish blending together so well while offering a manic crescendo. The last track Rivers of Babylon was a pleasant surprise to me and I do not intend spoiling it for you! After the listen I did eventually succumb to the internet - the leader on reeds (clarinets and saxophone) is Shabaka Hutchings; the tuba is the instrument that I keep referring to as the brass played by Oren Marshall; Seb Rochford and Tom Skinner on the amazing dual drums (and Dave Okumu with guitar on tracks 5 and 6 lending a beautiful atmosphere). Apparently they have been around for 2 years very active in the live circuit before Burn came about as their debut. Reading a bit of their history and background it is no wonder that the music is an eclectic mix of Caribbean rhythms stepped in African roots (even the name Kemet and 'Shabaka' add to the African story!) infused with some modern jazz thoughts. Though never in your face, the influences manage to add a distinct colour to the music making it something that is going to stick in your head for some time. Given the vast amount of fun I had listening to this intensely rhythmic record I can only imagine how their live shows would be - it must be an electric, high energy affair full of riotous fun (if jazz had a mosh pit, Sons of Kemet certainly get one!). Shame that my geographical coordinates is never going to help me realize the dream of seeing them live. Now, if only I could find a way to get them down to India. hmmm.