Originally published at: https://www.13thfloor.co.nz/katchafire-legacy-zojak-worldwide/
As I fight the freezing winter rain, there’s a summer party raging inside my headphones. That’s because Katchafire, Aotearoa’s favourite reggae act, is back with what I believe is their best album yet.
First featured at www.13thfloor.co.nz
It’s been 23 years since Tanya Donelly and crew walked away from their highly successful indie pop venture, Belly. Finally, they’ve found the guts to return, bringing with them a sweet but mature version of their younger selves that’s way more than just simply palatable. It’s like they never left.
Originally featured at www.13thfloor
Has one of the greatest guitarists found God or is he just borrowing a pew and a couple of psalm books? At 71, he may be getting on but going backwards to move forward has always been Ry Cooder‘s creative direction. New album The Prodigal Son might not be his best since the Buena Vista Social Club but it’s still damn good!
This appeared last month as a promotion for the upcoming Wellington Jazz Festival: http://www.13thfloor.co.nz/?p=88520
Playing the Wellington Jazz Festival this weekend are the London-based psychedelic funk-meisters The Comet is Coming. They mix sounds from the universe including snippets of Parliament, Sun Ra and Afro-funk pioneers like Fela Kuti – all channelled through a digital dashboard of synths and crazy sax.
The Comet is Coming. Photo credit: Stephen A’Court/ Wellington Jazz Festival
The Comet is Coming came, saw and conquered, leaving an explosion of psychedelic dust in its wake and the uncontrollable urge for Festival goers to get down and boogie. Wellington was passionate about The Comet, nearly selling out the Opera House for their Jazz Festival performance. The Comet took off slowly with a couple of intense and deeply indulgent jams building up layers of funky Herbie Hancock styled futuristic keyboard loops – courtesy of Danalogue The Conqueror (aka Lan Leavers); vibrant counter-rhythms from Betamax Killer’s drum kit and swirly, punchy sax from King Sabaka. They started this way and except for a short interlude where Danalogue played a short and quiet keys solo continued in full assault mode. Some of their performance collapsed into deep percussion led rhythmic trances, punctuated by sax and drums which seemed to compete and compliment, simultaneously.